B 


II! 

Hi! 


THE  MINIATURE  COLLECTOR 


THE 
MINIATURE 

COLLECTOR 


A  GUIDE  FOR  THE  AMATEUR 

COLLECTOR      OF      PORTRAIT 

MINIATURES 

BY 
DR.  GEORGE  C.  WILLIAMSON 


DODD,     MEAD    AND    COMPANY 
NEW  YORK  MCMXXI 


M 1 


N.B.— The  copyright  of  all  the  illustrations  used  in  this  book  is 
strictly  reserved  by  the  author  on  behalf  of  the  respective 
owners  of  the  miniatures. 


Printed  in  Great  Britain  by  Butler  &  Tanner,  Frame  and  London 


PREFACE 


SOME  apology  is  surely  needed  from  me,  for  inflicting 
yet  another  book  about  miniatures  upon  a  long- 
suffering  public  ;  but  I  hope  that  this  latest  work 
may  fill  the  position  that  is  at  the  moment  vacant,1  and 
may  supply  information  that  is  needed.  My  chief  excuse 
for  it  consists  in  the  fact  that  new  material  bearing  on  this, 
my  special  subject,  is  constantly  being  discovered,  and  I 
have  here  endeavoured — to  use  a  familiar  expression — to 
bring  the  science  up  to  date.  Investigations  in  archives 
and  records  quite  often  bring  to  light  new  facts  about 
miniature  painters  and  their  doings,  and  as  an  example, 
there  is  information  in  this  book  concerning  Nicholas 
Hilliard  and  the  gold  mines  of  Scotland,  in  which  he  is  actu- 
ally described  as  Queen  Elizabeth's  portrait  painter,  that 
has  only  been  brought  before  the  public  notice  in  the  Rhind 
lectures  delivered  by  Mr.  Warrach  during  the  past  few 
months,  having  hitherto  been  buried  in  the  dry  pages  of  a 
scarce  reprint  (issued  in  1815)  of  a  precious  Elizabethan 
document.  Of  one  miniature  painter,  who  is  here  de- 
scribed, practically  all  the  information  given  is  new.  It 
has  been  gleaned  from  his  ledgers,  which  have  lately  come 
into  my  own  possession,  and  I  believe  that  the  list  of  his 
sitters,  which  forms  an  appendix,  may  be  found  of  service 
in  identifying  many  of  his  miniatures,  which  at  present  are 

1  "  How  to  Identify  Protrait  Miniatures  "  went   out   of  print 
this  year. 


vi  PREFACE 


unknown,  or  have  been  wrongly  attributed  to  some  other 
artist. 

I  have  not  hesitated  to  refer  to  some  problems  as  to 
certain  miniature  painters,  which  still  await  solution,  and 
I  have  given,  I  hope  with  impartiality,  the  arguments  on 
either  side,  while  I  have  not  scrupled  to  declare  to  which 
I  adhere.  In  the  chapter  on  forgeries,  I  have,  for  the  first 
time,  put  into  cold  print  certain  of  the  methods  I  have  for 
years  adopted  in  endeavouring  to  determine  the  authenti- 
city of  the  miniatures  that  have  been  submitted  to  me, 
and  I  have  gone,  at  some  length,  into  an  account  of  the 
pigments  used  by  the  various  artists  and  of  the  methods 
that  can  be  adopted  for  their  identification.  It  has  seemed 
to  me  to  be  right  that  the  material  that  after  many  years 
of  experience  I  have  been  able  to  gather  together  for  my 
own  use,  should  be  placed  at  the  disposal  of  others,  especi- 
ally as  one  is  unable  to  hand  on  purely  personal  experience 
or  insight  and  can  only  assist  the  collector  in  coming  to  an 
opinion  for  himself. 

In  the  Bibliography,  I  have  adopted  a  somewhat  different 
plan  from  that  I  have  used  in  other  books,  and  have  given 
some  information  as  to  the  importance,  or  contents,  of  the 
books  in  question,  to  guide  any  future  purchasers.  Above 
all,  it  has  been  my  desire,  in  accordance  with  the  wish  of 
the  editor  of  this  series,  to  make  the  book  one  of  practical 
value,  to  give  the  information  in  simple  language,  avoiding 
as  far  as  possible,  technicalities,  or  the  jargon  of  a  collector, 
and  thus  to  produce  a  work  which  will  be  useful,  I  venture 
to  hope,  to  the  person  commencing  to  collect,  and  will 
yet  not  be  scorned  by  those  who  already  own  a  collec- 
tion, and  desire  to  know  more  about  the  artists  who  were 
responsible  for  their  treasures. 

The  illustrations  have  been  selected  in  order  to  give  a 
good  idea  of  the  work  of  the  different  artists.  Many  of 
them  have  not  appeared  hitherto  in  any  work  on  miniatures, 
and  I  am  greatly  indebted  to  the  various  owners,  whose 


PREFACE  vii 

names  appear  on  the  plates,  for  permission  to  make  use  of 
the  choice  examples  from  their  collections  which  are  here 
reproduced.  Others  are  taken  from  costly  and  privately 
printed  works,  or  from  books  that  are  now  out  of  print, 
and  the  aim  has  been  to  present  in  chronological  sequence 
the  works  of  all  the  noted  miniature  painters  and  to  show 
in  most  cases  representative  examples. 

My  very  hearty  thanks  are  accorded  to  my  friends  Dr. 
Martin  Onslow  Forster,  F.R.S.,  and  Dr.  Laing,  and  to  my 
son  Mr.  Cuthbert  A.  Williamson  for  their  kindness  in 
reading  my  proofs  and  making  many  valuable  suggestions 
concerning  them. 

If  I  have  succeeded  in  being  of  some  service  to  those 
who  devote  their  attention  to  this  delightful  branch  of 
portraiture  in  the  study  of  which  I  have  laboured  for  so 
many  years  I  shall  feel  amply  rewarded  and  the  purpose 
of  this  book  will  have  been  achieved. 

GEORGE  C.   WILLIAMSON. 
BURGH  HOUSE, 
HAMPSTEAD,  LONDON, 
May,  1920. 


CONTENTS 


CHAPTER  PAGE 

PREFACE    -  V 

LIST  OF   ILLUSTRATIONS         -  -         xi 

I.      THE   ORIGIN   OF   THE   ART     -  3 
II.      HANS  HOLBEIN  AND   THE  EARLIEST  PAINTERS 

IN   MINIATURE  8 

III.  NICHOLAS  AND   LAWRENCE   BILLIARD  -                       19 

IV.  THE   OLIVERS       -  37 
V.      JOHN   HOSKINS  AND   HIS   SON  -          47 

VI.      SAMUEL  COOPER  -          58 

VII.      THE   INTERREGNUM      -  80 

VIII.      RICHARD   COSWAY,    R.A.  -       103 

IX.      ANDREW  AND   NATHANIEL   PLIMER  -        Il6 

X.      GEORGE   ENGLEHEART  -       123 

XI.      JOHN   SMART        -  -       131 

XII.      OZIAS   HUMPHRY,    R.A.  -       147 

XIII.  WILLIAM   WOOD  -       156 

XIV.  THE  LESSER  MEN  OF  THE  EIGHTEENTH  CENTURY        174 
XV.      THE   END   OF   THE   STORY      -  -       182 

XVI.      THE   MINIATURE   PAINTERS   IN   ENAMEL  -       187 

ix 


CONTENTS 


CHAPTER  PAGE 

XVII.      SOME   FOREIGN   MINIATURE   PAINTERS    -            -  200 

XVIII.      PLUMBAGO   DRAWINGS                                                     -  205 

XIX.      THE   COLLECTOR                                                                  -  21 6 

XX.      COLLECTIONS   AND   COLLECTORS      -                         -  232 

XXI.      FORGERIES                                                                              -  243 

XXII.      THE   AMERICAN   MINIATURE   PAINTERS    -  254 

XXIII.      BIBLIOGRAPHY     -                                                                -  263 

APPENDIX  :  Complete  List  of  all  the  persons  who  sat 
for  their  portraits  to  William  Wood,  1768-1809, 
extracted  from  his  private  ledgers  and  never 

before  published  -  275 

INDEX 295 


ILLUSTRATIONS 


TO    FACE    PAGE 


Frontispiece.     RICHARD  COSWAY  (in  colour) 

I  THE  ORIGIN  OF  THE  ART  AND  HOLBEIN  10 

II  HOLBEIN  -  14 

III  OTHER  EARLY  MASTERS  -  18 

IV  NICHOLAS  HILLIARD       -  22 
V  NICHOLAS  HILLIARD  -  30 

VI  NICHOLAS  AND  LAWRENCE  HILLIARD       -  34 

VII  ISAAC  OLIVER  -  40 

VIII  PETER  OLIVER  -  44 

IX  JOHN  HOSKINS      -  50 

X  JOHN  HOSKINS      -  -  56 

XI  SAMUEL  COOPER    -  -  62 

XII  SAMUEL  COOPER    -  -  64 

XIII  SAMUEL  COOPER    -  -  68 

XIV  SAMUEL  COOPER    -  -  72 
XV  ALEXANDER  COOPER       -  -  76 

XVI  NICHOLAS  DIXON  -  -  82 

XVII  THE  INTERREGNUM  -  86 

XVIII  THE  INTERREGNUM  -  94 

xi 


xii 

ILLUSTRATIONS 

TO    FACE 

PAGE 

XIX 

THE  INTERREGNUM 

98 

XX 

RICHARD  COSWAY 

106 

XXI 

RICHARD  COSWAY 

112 

XXII 

ANDREW  AND  NATHANIEL  PLIMER  - 

118 

XXIII 

GEORGE  ENGLEHEART    - 

128 

XXIV 

JOHN  SMART 

134 

XXV 

JOHN  SMART 

140 

XXVI 

OZIAS  HUMPHRY    - 

150 

XXVII 

THE  END  OF  THE  STORY 

176 

XXVIII 

THE  END  OF  THE  STORY 

180 

XXIX 

THE  MINIATURE  PAINTERS  IN  ENAMEL   - 

192 

XXX 

FOREIGN  MINIATURE  PAINTERS 

202 

XXXI 

PLUMBAGO  DRAWINGS    - 

208 

XXXII 

PLUMBAGO  DRAWINGS    - 

212 

LINE  ILLUSTRATIONS 

SPECIMEN 

SIGNATURE  OF  COSWAY  - 

114 

SPECIMEN 

SIGNATURE  OF  HUMPHRY 

154 

A  RARE 

BOOK  ON  MINIATURE  PAINTING 

273 

THE  MINIATURE  COLLECTOR 


CHAPTER  I 

THE   ORIGIN   OF  THE   ART 


IT  is  unnecessary,  and  not  even  desirable,  in  a  handbook 
of  this  kind,  which  has  to  deal  with  portrait  minia- 
tures, that  lengthy  reference  should  be  made  to  the 
art  of  preparing  illuminated  manuscripts,  even  though  the 
use  of  the  word  miniature  was  Originally  applied  to  the 
paintings  in  these  MSS.,  and  is  still  used  more  or  less 
in  the  same  connection.     The  student  may   perhaps    be 
puzzled  at  the  very  outset  by  noting  the  existence  of 
Bradley's  "  Dictionary  of  Miniaturists,"  and  finding  that 
none  of  the  artists  alluded  to  in  this  volume  are  referred 
to  in  that  Dictionary,  but  he  will  then  understand  that  the 
book  in  question  has  to  deal  with  the  miniaturists,  painters, 
illuminators  and  caligraphers  who  were  responsible  for  the 
illuminated  MSS.  of  early  days,  and  not  with  those  who  are 
now  usually  termed  Painters  of  portraits  in  miniature. 
The  very  word  miniature  offers  the  first  problem  for  solu- 
tion.   There  is  little  doubt  that  it  was  derived  from  the 
Latin  minium,  vermilion,  the  colour  used  for  the  heading 
and  initial  letters  of  these  MSS.,  in  which  small  pictorial 
scenes  were  introduced.    The  original  meaning  of  this  was 
afterwards  expressed  by  the  term  rubrication,  and  then  the 
word  miniature  became  applied  to  the  illuminations  in  the 

3 


THE   MINIATURE  COLLECTOR 


MS.,  rather  thp.n  to  the  decoration  in  red  lines  which 
surrounded  them  ;  but,  after  a  while,  owing  to  the  small 
dimensions  of  the  work,  the  word  became  associated  with 
the  French  word  mignature,  and  so  gradually  was  used 
with  regard  to  paintings  in  little,  which  are  with  greater 
accuracy  to  be  spoken  of  as  "  limnings."  In  process  of 
time,  the  word  has  really  lost  its  original  meaning,  and  we 
now  speak  of  a  miniature  bookcase,  or  miniature  books, 
or  of  any  object  which  is  of  small  proportions,  and  we  use 
the  word  miniature  as  an  adjective  to  qualify  it,  and  to 
express  the  sense  that  it  is  an  exceedingly  small  example 
of  its  class.  It  is  not  easy  to  adopt  a  definition  that  will 
be  simple  and  accurate  for  what  we  now  call  a  miniature, 
perhaps  the  easiest  way  is  to  speak  of  a  miniature  as  a 
portrait  that  can  be  held  in  one  hand.  It  may  perhaps 
be  no  bigger  than  the  thumb-nail,  it  may  perchance  be  as 
large  as  the  palm  of  the  hand,  or  even  larger,  but  it  must 
be  a  portable  portrait,  one  that  can  be  easily  held  and 
examined  closely.  It  would  be  better,  undoubtedly,  if 
the  use  of  the  old  word  "  limning  "  had  survived.  John 
Crowne's  "  Country  Wit,"  a  favourite  play  with  Charles  II. 
published  in  1675,  and  acted  with  applause  at  the  Duke's 
Theatre,  in  the  course  of  a  conversation  between  two 
persons  styled  "  Merry  "  and  "  Ramble  "  gives  these 
lines  : — 

Merry :   Cannot  you  limne,  Sir  ? 

Ramble  :    Limne  !     What  dost  thou  mean  ? 

Merry :    Why  limne,  Sir,  draw  pictures  in  little. 

The  word  survived  well  into  Stuart  or  even  the  beginning 
of  Hanoverian,  times.  King  Charles's  collection  was  called 
' '  The  King's  collection  of  limnings. ' '  In  an  appointment  to 
Queen  Anne  the  miniature  painter  was  styled  "  Limner  to 
the  Queen,"  and  certain  documents  of  the  reign  of  George  I. 
speak  of  limnings  being  executed  by  the  King's  painters. 
Pepys  speaks  of  "  paintings  in  little,"  and  this  is  also  a 


THE  ORIGIN   OF  THE  ART 


suitable  phrase  to  apply  to  these  small  portraits,  although 
perhaps  an  awkward  one.  "  Limning  "  would  be  a  better, 
but  that  also  we  have  to  trace  back  to  the  illuminated 
MSS.  because  the  word  is  derived  from  the  French  word 
enluminer  and  that  again  is  derived  from  the  Latin 
illuminate,  to  paint.  It  is  really  impossible  to  lay  down  a 
hard  and  fast  line  at  the  present  day  for  the  use  of  the 
word,  because  we  use  the  same  word  for  portraits  which 
differ  as  much  as  the  tiny  enamel  by  Petitot  of  Louis  XIV. 
which  can  be  covered  by  an  English  farthing,  and  the  por- 
trait of  Charles  II.  at  Goodwood  which  measures  nine 
inches  by  seven,  or  the  one  of  the  three  youths  at  Burghley 
which  is  about  the  same  size,  or  the  circular  one  of  Henri- 
etta Maria,  in  the  Amsterdam  Museum,  which  is  over 
seven  inches  in  diameter. 

Now  for  the  origin  of  these  miniatures. 

Portraits  of  li ving  persons  appear  in  some  of  the  earliest 
of  the  illuminated  MSS.  Take,  for  example,  one  by  Simon 
Beninck,  in  a  genealogical  tree  that  showed  the  alliance 
between  the  Royal  houses  of  Spain  and  Portugal,  or  the 
picture  of  Cardinal  Grimani  by  Giulio  Clovio  in  the  cele- 
brated Grimani  Breviary,  or  the  one  of  Francis  I.  on  the 
ratification  of  the  treaty  of  perpetual  peace  with  England 
dated  i8th  August,  1527,  or  those  of  Henry  VIII.  and 
Philip  and  Mary  which  adorned  the  Rolls  of  Pleas,  in  the 
Court  of  King's  Bench,  at  Westminster  and  St.  Alban's. 
All  these  are  well-known  examples  of  single  portraits  of 
sovereigns  and  notable  persons,  painted  upon  documents 
that  were  intended  to  be  preserved  with  great  care,  and 
which  were  connected  with  certain  special  epochs  in  the 
history  of  the  times.  There  was  no  idea,  when  these 
portraits  were  painted,  of  their  being  used  separately,  in 
frames,  but  they  added  to  the  authenticity  and  importance 
of  the  treaty  or  document  in  question,  and  were,  perhaps, 
proofs,  to  those  who  saw  the  document,  that  it  had  been 
agreed  to,  by  the  sovereign  whose  portrait  adorned  it. 


THE  MINIATURE  COLLECTOR 


That  these  early  portraits  were  likenesses  of  the  sovereigns 
in  question  is  quite  another  matter.  They  are  not  works 
of  very  high  merit,  and  in  all  probability  they  did  not  bear 
a  very  close  resemblance  to  the  persons  they  were  intended 
to  depict,  but  at  the  same  time,  there  was  an  attempt  at 
genuine  portraiture,  and  one  feels,  in  looking,  for  example, 
at  the  Grimani  Breviary,  that  the  representation  of  the 
Cardinal  does  depict  a  Venetian  ecclesiastic  of  the  day, 
and  even  the  type  of  man  we  can  imagine  Grimani  to  have 
been.  Again,  in  the  Roll  of  Pleas  at  Westminster  for  1556 
there  was  a  certain  definite  attempt  at  Royal  portraiture, 
the  solemn  face  of  Queen  Mary  and  the  supercilious  aspect 
of  Philip  were  both  realised  by  the  artist.  The  portrait 
of  Francis  on  the  first  page  of  the  treaty  to  which  the 
magnificent  golden  "  bulla  "  was  attached  is  clearly  that 
of  a  Frenchman,  and  of  one  who  ruled  in  his  own  country, 
with  much  the  facial  characteristics  that  might  be  expected 
of  Francis  I.  Here  are  evident  attempts  at  psychology. 
Gradually,  however,  more  effort  was  made  to  constitute 
these  limnings  in  colour,  on  documents  or  MSS.,  more  akin 
to  real  portraits,  and  from  the  time  of  Henry  VIII.  the 
improvement  slowly  developed.  There  is  a  diploma  of 
Charles  II.  creating  his  natural  son  James  to  be  Duke  of 
Monmouth,  with  remainder  to  the  Earldom  of  Buccleuch, 
dated  April  2Oth,  1663,  and  this  bears  upon  it  quite  a  fine 
portrait  of  the  King.  The  deed  was  dated  at  Whitehall, 
and  therefore,  though  it  bears  the  great  seal  of  Scotland, 
the  portrait  was  probably  the  work  of  some  English  artist, 
and,  as  it  very  much  resembles  a  painting  by  Cooper,  it 
may  have  been  painted  by  some  court  limner,  after  a 
miniature  by  that  artist.  From  that  time  we  have  an 
almost  complete  series  of  portraits  of  the  monarchs  of 
England  on  letters  patent,  or  on  charters.  We  cannot 
say  who  was  the  artist  responsible  for  any  of  them,  save 
perhaps  in  one  instance,  in  which  a  drawing  of  Charles  II. 
by  David  Loggan  so  closely  resembles  the  head  of  that 


THE  ORIGIN   OF  THE  ART 


monarch  on  the  letters  patent  of  that  day  that  it  seems 
almost  certain  Loggan  must  have  been  responsible  for  the 
original  drawing  from  which  perhaps  other  persons  made 
copies  for  documents  and  deeds.     The  same  thing  occurred 
in  other  parts  of  Europe.     There  are  some  interesting 
sixteenth-century  letters    of    instruction  to  persons  who 
held  high  positions  under  the  State  of  Venice.     They  took 
the  form  of  volumes,  beautifully  and  elaborately  bound, 
and  on  the  first  page  of  each  was  usually  a  representation 
of    the   envoy   to   whom    the   document  was  addressed. 
His  portrait  was  associated  with  a  representation  of  his 
patron  saint,   and  enclosed  in  an  elaborate   decorative 
border,  in  which  appeared  the  arms  of  the  Doge  of  Venice 
and  symbolical  figures,  representative  of  the  republic  of 
Venice,  and  the  provinces  which  gave  allegiance  to  it. 
Some  of  the  earliest  of  these  letters  of  instruction  were 
merely  conventional  and  formal  portraiture,  but  gradually 
there  was  a  clear  attempt  to  represent  the  man  as  he  was, 
and  some  of  them,  specially  two,  dated  1545  and  1550 
appointing    governors    to    Cattaro    and    Bassano,    were 
attempts  to  represent  the  man  himself,  and  were  evidently 
painted  from  life.     In  these,  and  in  some  similar  documents 
of  English  origin  and  of  about  the  same  period,  we  have 
the  earliest  attempts  at  portraiture  within  a  very  small 
compass,  such  as  we  now  speak  of  as  a  miniature,  and  from 
this  point  down  to  the  time  when  there  were  actual  por- 
traits painted  in  England  on  documents  and  when  these 
portraits  were  cut  out  and  framed  is  not  a  long  step,  and 
one  which  will  be  set  out  in  detail  in  the  next  chapter. 


CHAPTER  II 

HANS  HOLBEIN  AND  THE  EARLIEST   PAINTERS  IN  MINIATURE 


I  HAVE  already  alluded  to  the  probable  evolution  of 
the   portrait   miniature   from    the    small    portraits 
which  appeared  in  early  manuscripts,  and  we  have 
now  to  consider  the  actual  application  of  this  theory. 

That  there  were  portraits  in  these  manuscripts  is  known 
to  every  collector,  and  it  is  easy  to  verify  the  statement 
by  examining  the  English  MS.  of  the  fifteenth  century  De 
Regimine  Principis  in  the  British  Museum,1  which  contains 
the  well-known  portrait  of  Geoffrey  Chaucer  the  poet 
(1370-1450?),  in  Hoccleve's  manuscript. 

Again,  the  famous  Sherborne  Manuscript,  perhaps  the 
finest  and  most  precious  in  England,  which  is  preserved  in 
the  Library  at  Alnwick  Castle,  contains  in  several  places 
the  portrait  of  the  illuminator  who  carried  out  the  work, 
in  about  1400,  for  the  Abbot  of  Sherborne,  John  Siferwas, 
a  Dominican  friar  belonging  to  an  old  English  family. 
The  same  wonderful  Manuscript  contains  also  the  portrait 
of  the  scribe  who  wrote  it,  one  John  Whas,  a  monk.  The 
portrait  of  Siferwas  appears  also  in  another  famous  manu- 
script, the  odd  pages  of  the  Salisbury  Lectionarium  in  the 
British  Museum,  which  possesses  for  its  frontispiece  a 
portrait  of  John,  Lord  Lovell  of  Tichmersh,  who  is  shown 
receiving  the  book  from  Siferwas  who  had  prepared  it. 
Yet  other  portraits  can  be  seen  at  the  British  Museum, 
those  of  Occleve 2  already  mentioned  in  the  act  of 

1  Harleian  MSS.  4866,   f.  88.  2  Royal  MS.  17,  D.  VI. 

8 


HANS  HOLBEIN 


presenting  his  book  to  Henry  V.,  and  of  John  Lyd- 
gate,1  the  poet  (i370?-i45i?)  on  a  similar  occasion  to 
Henry  VI. 

In  the  famous  manuscript  of  Caesar's  "  De  Bello  Gallico  " 
prepared  for  Francis  I.  there  appeared  several  portraits 
attributed  by  M.  Dimier  to  Jean  Clouet  (Janet)  and  of 
circular  form,  depicting  the  companions  of  the  King.  In 
one  of  the  three  2  volumes  in  which  this  great  treasure  is 
contained,  there  is  a  portrait  of  the  King  himself,  and  such 
circular  miniatures  would  readily  lend  themselves  to 
framing  if  once  removed  from  the  manuscript.  It  seems 
to  be  possible  that  one  such  portrait  was  actually  so  treated, 
because  in  the  J.  Pierpont  Morgan  collection  is  a  portrait 
of  Charles  Cosse,  Marechal  de  Brissac,  which  is  identical 
in  technique,  colouring  and  size  with  the  portraits  of  the 
Preux  de  Marignan  in  the  MS.  of  the  Gallic  Wars  and  is 
attributed  by  M.  Dimier  to  the  same  artist.  This  is 
painted  on  a  piece  of  vellum,  and  has  an  irregular  edge  just 
as  it  would  have  had  if  it  had  been  cut  out.  No  manuscript 
from  which  such  a  portrait  is  missing  has  at  present  been 
identified,  but  there  is  little  doubt  that  it  did  once  adorn 
such  a  manuscript  whence  it  was  cut  out  in  order  that  it 
might  be  framed,  and  used  as  a  portrait  to  be  carried  in 
the  hand  or  exhibited  on  the  person.  It  is  possible  that 
other  famous  miniatures  of  an  early  period  both  in  England 
and  France  may  have  come  from  similar  sources,  but 
whether  this  is  so  or  not,  we  probably  possess  in  the  Pier- 
pont Morgan  portrait 3  one  definite  example  of  the  origin 
of  the  framed  portrait  miniature. 

The  idea  once  started  became  popular  amongst  the  great 
people  of  the  day,  and  it  was  early  in  the  sixteenth  century 

1  Harleian  MSS.   1766,  f.  5. 

2  The  three  vols.  are  separated,  one  is  in  the  Bibliotheque  Nation- 
ale,  another  at  Chantilly,  and  a  third  in  the  British  Museum  (Harl. 
MSS.  6205).     All  three  have  been  reproduced  in  exquisite  fashion  in 
facsimile,  see  B.M.  K.T.C.  28a3. 

3  See  my  Catalogue  of  the  Morgan  collection,  1907,  III.,  page  i. 


io  THE  MINIATURE  COLLECTOR 


PLATE  I. 
THE   ORIGIN   OF   THE    ART   AND    HOLBEIN. 

1 .  Leonard  Bur.     By  Holbein. 

In  the  Collection  of  Mrs.  Sotheby. 

2.  Francis  I,  from  the  triplicate  of  the  ratification  of  the^'treaty  ^of 

perpetual  peace  dated  18  August,  1527.     Artist  unknown.' 
In  the  Public  Record  Office. 

3.  Queen  Catherine  Howard.     By  Holbein. 

In  the  Collection  of  the  Duke  of  Buccleuch  and  Queensberry, 
K.T. 

4.  Hans  Holbein  in  his  45th  year,  dated  1543.     By  himself. 

In  the  Collection  of  the  Duke  of  Buccleuch  and  Queensberry, 
K.T. 

5.  Charles  de  Coss<§,  Marechal  de  Brissac  (ob.  1621).      By    Jean 

Clouet. 
In  the  Collection  of  Mr.  J.  Pierpont  Morgan. 


M.ATE 


HANS  HOLBEIN  n 

that  the  art  began  to  come  into  fashion.  In  Mr.  Salting's 
bequest  to  the  nation,  now  exhibited  at  the  Victoria  and 
Albert  Museum,  can  be  seen  two  delightful  portraits  of 
little  girls  l  painted  in  the  year  1590,  when  they  were  at 
the  ages  of  five  and  four  respectively.  One  holds  a  red 
carnation,  the  other  an  apple,  and  they  were  probably  the 
work  of  Lavina  Teerlinck,  the  daughter  of  Simon  Binninc 
of  Bruges,  who  certainly  painted  in  England  2  ;  in  fact  at 
one  time  there  was  preserved  with  them,  by  their  then 
owner,  Mr.  Hawkins,  a  slip  of  parchment,  which  I  myself 
saw  and  read,  on  which  was  inscribed  a  statement  that 
the  two  portraits  were  "  fynely  "  painted  "  by  Lavina 
Teerlinck  in  1590  at  Greenwich."  In  some  unaccountable 
and  most  unfortunate  manner  this  precious  riband  of 
yellowish  parchment  disappeared,  when  the  Hawkins 
collection  was  transferred  to  Christie's,  and  has  never 
since  been  seen.  These  portraits  are  in  contemporary, 
turned  ivory  cases,  and  the  parchment  was,  when  I  saw  it, 
tied  on  to  one  of  them.  There  were  other  fifteenth-century 
painters  to  whom  miniatures  are  attributed,  as  for  example 
Simon  Binninc  already  mentioned,  and  Luke  and  Susanna 
Hornebolt,  but  to  all  intents  and  purposes  the  art  com- 
mences in  England  with  the  work  of  Hans  Holbein  (1497- 
1543)  who  seems  to  have  paid  his  first  visit  to  this  country 
in  1526,  and  his  second  in  1531. 

When  he  actually  commenced  to  paint  portrait  minia- 
tures it  is  impossible  to  say,  inasmuch  as  we  have  so  few 
dated  portraits  to  guide  us,  but  it  is  probable  that  the 
earliest  that  has  survived  is  the  portrait  of  Henry  VIII. 's 

1  See  my  Catalogue  of  the  Morgan  collection  of  Miniatures,  1906, 
I.,  20. 

2  There  is  an  interesting  reference  to  her  being  at  the  English 
Court  in  1546  : — Mrs.  Levyna    Terling,  paintrix,  to  have  a  fee  of 
£40  a  year  from  the  Annunciation  of  Our  Lady  last  past,  during  your 
Majesty's  pleasure.     Preferred  by  my  Lady  Harbert.     It  is  to  be 
found  in  the  Letters  and  Papers  of  Henry  VIII.,  1546,  Part  II.,  No. 
475,  Grant  101. 


12  THE  MINIATURE  COLLECTOR 

third  wife,  Jane  Seymour,  which  originally  belonged  to 
the  Seymour  family,  and  is  said  to  have  passed  through  the 
possession  of  the  Duke  of  Buckingham,  Horace  Walpole 
(it  is  believed),  Mr.  Sackville  Bale,  and  Dr.  Propert,  and 
which  now  belongs  to  Mr.  Vernon  Watney.  Then  would 
follow  the  portrait  of  Henry  VIII.1  himself,  in  the  Morgan 
collection,  which,  tradition  states,  was  presented  by  the 
King  to  Anne  of  Cleves,  and  the  superb  portrait  of  that 
Queen  which  forms  part  of  the  Salting  bequest,  and  which 
wasjprobably  painted  in  July,  1539,  at  Duren,  in  Cleves,  by 
order  of  the  King.  Another  portrait  of  Jane  Seymour 
belongs  to  Mr.  H.  Dent-Brocklehurst,  and  a  third  to  the 
Duke  of  Buccleuch,  while  portraits  of  two  other  wives  of 
Henry  VIII.  are  known,  if  one  in  the  Dent-Brocklehurst 
collection  is  correctly  called  Queen  Catherine  Parr,  and  if, 
as  is  practically  certain,  the  miniature  in  the  Royal  collec- 
tion and  the  similar  one  belonging  to  the  Duke  of  Buccleuch 
represent  Queen  Catherine  Howard.  Holbein  never 
painted  anything  more  lovely,  however,  than  the  portrait 
of  Mrs.  Pemberton,2  at  the  age  of  twenty-three,  which  is 
now  the  chief  treasure  in  the  J.  Pierpont  Morgan  collection. 
It  is  a  work  of  exquisite  beauty  and  great  refinement,  and 
has  been  identified  from  the  coat-of-arms  painted  on  the 
back.  It  also  came  from  the  C.  H.  T.  Hawkins  collection. 
Holbein's  own  portrait  is  in  the  Wallace  collection,  and  a 
very  similar  portrait  is  in  the  collection  of  the  Duke  of 
Buccleuch.  Both  are  dated  1543  when  the  artist  was  in 
his  forty-fifth  year.  An  earlier,  and  even  finer  work  is 
in  the  Salting  collection,  and  was  painted  in  1532,  when, 
as  the  artist  himself  declares,  he  was  thirty-five  years  old. 
Besides  those,  there  are  in  existence  portraits  by  him  of 
many  other  persons  notable  in  the  court  of  the  Tudor 
King,  as  for  example  Catherine  Willoughby,  Duchess  of 
Suffolk  (collection  of  the  Earl  of  Ancaster),  Queen  Katherine 

1  Morgan  catalogue,  1906, 1.  p.  4,  No.  2. 

2  Morgan  catalogue,  1906,  I.  p.  8,  No.  4. 


HANS  HOLBEIN  13 

of  Aragon  (collection  of  the  late  Mr.  Joseph),  Chas.  Brandon, 
Duke  of  Suffolk,  Henry  Brandon,  Duke  of  Suffolk,  Lady 
Audley,  and  Queen  Catherine  Howard  (collection  of  H.M. 
the  King),  and  several  belonging  to  the  Duke  of  Buccleuch 
and  Queensberry. 

For  one  of  the  most  charming,  however,  we  must  go 
abroad,  as  the  Queen  of  Holland's  collection  contains  a 
famous  portrait  of  a  young  man,  said  to  be  the  son  of  a 
merchant  of  the  Steel  Yard,  a  friend  of  Sir  Thomas  More, 
and  tradition  gives  it  that  More  introduced  the  painter 
to  his  companion,  who  forthwith  entrusted  him  with  this 
commission,  a  portrait  of  the  boy,  to  send  to  his  mother, 
in  Holland .  Nobly  has  Holbein  carried  out  the  commission . 
The  portrait  is  quite  simple,  without  any  accessories,  just 
that  of  a  quiet,  thoughtful,  reflective  youth,  in  a  dark 
claret  coloured  costume,  with  a  tiny  white  lace  collar  just 
visible,  close  up  to  the  neck.  As  a  piece  of  exquisite  por- 
traiture it  can  hardly  be  surpassed.  Another,  in  the  same 
collection,  represents,  I  think,  Reskymeer,  a  Cornish  gentle- 
man, whose  full-length  portrait  by  the  same  artist  is  to 
be  seen  at  Hampton  Court. 

The  collector  is  not  very  likely  to  come  across  a  miniature 
by  Holbein,  although  of  course  such  a  delightful  circum- 
stance might  occur,  and,  in  fact,  only  in  May,  1918,  a  por- 
trait of  undoubted  authenticity  representing  Lady  Mary 
Howard  came  up  for  sale,  did  not  fetch  its  true  value  and 
returned  to  the  collection  of  Sir  Henry  Jerningham,  where 
it  still  is.  In  this  case,  the  story  of  the  history  of  the 
miniature  was  complete,  but,  unluckily,  the  whole  of  the 
work  now  seen  was  not  that  of  Holbein,  as  some  other 
artist,  perhaps  in  Stuart  times,  or  in  those  of  Queen  Anne, 
had  attempted  to  repair  some  damage  and  had  not  been 
wholly  successful.  As  regards  the  greater  part  of  the 
portrait,  however,  it  was  certainly  the  work  of  the  Swabian 
master  himself,  and  so  rare  are  miniatures  by  Holbein 
that  any  collector  might  well  be  proud  to  possess  this 


I 


14  THE  MINIATURE  COLLECTOR 


PLATE  II. 
HOLBEIN. 

1.  George  Nevill,  Baron  Abergavenny,  K.G. 

In  the  Collection  of  the  Duke  of  Buccleuch  and  Queensberry, 
K.T., 

2.  Charles  Brandon,  son  of  Charles  Brandon,  Duke  of  Suffolk  (ob. 

1551).     One  oft  wo  portraitsmof  brothers.     Inscribed  ANN  1541 

ETATIS    SUAE    3    IO    MARCI. 

In  the  Collection  of  H.M.  the  King. 

3.  Cromwell,  Earl  of  Essex. 

In  the  Collection  of  Mrs.  Sotheby. 

4.  A  Young  Man,  name  unknown,  the  son,  it  is  said,  of  a  merchant 

of  the  Steelyard. 

In  the  Collection  of  the  Queen  of  Holland. 


PLATE   II 


HANS  HOLBEIN  15 

interesting  portrait  and  to  chronicle  in  his  catalogue  the 
long  and  curious  history  that  belongs  to  it,  and  which 
proved  whom  it  represents.1 

In  case  a  similar  chance  befalls  the  collector,  it  will  be 
well  to  set  down,  for  his  guidance,  certain  rules.  Holbein's 
miniatures  are  circular — never  true  circles,  never  trimmed 
quite  accurately,  but  irregular  in  shape  and  often  with 
jagged  edges.  They  are  on  a  blue  ground,  of  a  quite 
clear,  pure  ultramarine  blue,  distinctive  and  easy  of 
identification.  They  are  often  inscribed,  and  sometimes 
signed  with  initials,  and  the  lettering  is  in  gold  or  black  and 
in  square  clear  characters.  The  paint  is  put  on  very 
lightly,  and  is  never  thick  or  lumpy,  the  modelling  is  subtle, 
so  subtle  that  it  is  difficult  to  understand  how,  with  a  very 
slight  amount  of  colour,  and  such  very  tender  shades,  so 
much  modelling  could  be  obtained  ;  and  the  shadows  are 
transparent  and  white,  never  very  deep  or  dark.  Exquisite 
is  the  word  to  apply  to  the  technique,  so  dainty  is  it  and  so 
refined.  Let  it  be  borne  in  mind  that  Holbein  died  in 
1543  and  not  in  1554,  as  was  for  a  long  time  believed,  and 
then  it  will  be  clear  that  he  cannot  have  painted  Edward 
VI.  as  a  young  man,  inasmuch  as  that  King  was  born  in 
1538,  five  years  only  before  Holbein  died.  This  is  an 
important  fact,  as  there  are  several  portraits  of  Edward 
VI.  which  bear  Holbein's  name,  but  which  have  no  connec- 
tion with  him.  Again,  be  it  remembered  that  genuine 
miniatures  by  Holbein  are  very  rarely  to  be  seen,  but  that 
so  great  is  the  eminence  of  his  name  that  many  portraits 
are  attributed  to  him,  therefore  the  collector  must  be 
exceedingly  cautious  when  any  so-called  come  under  his 
notice. 

The  genuine  miniatures  are  either  painted  on  the  very 
thinnest  vellum,  mounted  on  a  playing  card,  or  else  direct 
on  to  the  card  itself,  and  never  on  any  other  material. 

1  It  has  just  lately  passed  into  the  hands  of  a  notable  collector 
ia  Sweden. 


i6  THE   MINIATURE  COLLECTOR 

The  hair  in  the  portrait  should  be  examined  first,  as  Holbein 
painted  the  hair  with  extreme  delicacy  and  the  finest  of 
outline.  Next,  look  for  ornaments,  because  they  are 
always  executed  with  scrupulous  accuracy,  and  extremely 
sharp  definite  outline,  but  they  never  occupy  any  but 
quite  a  subordinate  position  in  the  work.  Holbein  rivets 
attention  on  the  face,  everything  else  is  subservient  to  it, 
and  the  face  is  always  full  of  character,  invariably  at 
rest,  and  generally  painted  with  a  serious  and  somewhat 
pathetic  look. 

There  is  no  such  thing  as  a  vivacious  or  smiling  Holbein 
portrait,  the  expression  is  calm,  serious,  thoughtful,  but 
not  specially  alert. 

There  are  probably  Holbeins  yet  to  be  discovered  in 
country  houses,  for  the  eighteen  or  so  that  can  be  readily 
mentioned  are  not  likely  to  be  constituted  his  entire  output, 
and  there  is  therefore  the  chance  for  a  collector  to  discover 
one  hitherto  unknown.  Holbein  does  not  appear  to  have 
had  any  pupils  or  to  have  founded  any  school.  The  men 
who  followed  him  were  very  different  in  their  technique, 
but  he  probably  had  some  assistants  in  his  studio,  and 
there  are  several  miniatures,  notably,  e.g.,  the  portraits  of 
Nicholas  Kratzer  and  Arnold  Franz  and  Henry,  Lord 
Stafford  in  the  J.  P.  Morgan  collection  which  belong 
undoubtedly  to  Holbein's  period  and  partake  very  largely 
of  his  method  and  style  and  which  yet  differ  from  his  work. 
They  may  quite  well  bear  his  name,  yet  we  may  be  sure  that 
the  hand  that  was  responsible  for  Mrs.  Pemberton,  for  the 
Queen  of  Holland's  "  boy,"  and  for  Henry  VIII.  and  Anne 
of  Cleves,  to  mention  no  others,  could  not  have  completed 
these  portraits.  There  is  evidence,  to  the  eye  of  the 
expert,  in  all  of  them,  of  a  connection,  intimate  and  real, 
with  the  work  of  Holbein,  but  there  is  also  evidence  of  the 
work  of  another  hand,  and  I  believe  that  these  and  other 
miniatures  of  the  same  character  were  produced  in  the 
master's  studio,  under  his  supervision,  and  perhaps  sketched 


HANS  HOLBEIN  17 

in  by  him,  but  that  some  unknown  artist — about  whom  we 
would  gladly  have  some  information — was  responsible  for 
very  much  in  them.  Of  the  other  artists  of  the  period, 
Johannes  Corvus — the  Hornebolts,  Jean  Clouet,  Gerlack 
Fliccius,  Gillam  Street es,  John  Shute,  John  Bettes,  and 
Francis  Segar,  I  need  say  but  little  here.  About  all  these 
men  our  information  is  exceedingly  scanty,  and  is  not  very 
likely  to  increase,  except  quite  by  accident  and  research 
amongst  contemporary  documents,  so  that  the  collector 
may  well  leave  these  artists  alone  and  devote  his  attention 
to  works  that  are  more  likely  to  come  before  him. 

It  should,  however,  just  be  mentioned  that  the  period 
boasted  also  of  other  artists  who  did  not  sign  their  works 
and  who  therefore  cannot  be  identified,  for  there  are 
anonymous  portraits,  sometimes  dated,  in  all  the  great 
collections,  notably  in  that  of  the  Duke  of  Buccleuch, 
differing  in  technique  and  colouring  from  the  works  of  any 
known  men,  and  although,  sometimes,  the  person  depicted 
can  be  identified,  the  artist  responsible  for  the  portrait 
remains  in  total  obscurity. 


18  THE  MINIATURE  COLLECTOR 


PLATE  III. 
OTHER   EARLY   MASTERS. 

1 .  Lady  Mary  Sydney,  painted  on  a  playing  card.     Artist  un- 

known.    Perhaps  by  Nicholas  Lockey. 

In  the  Collection  of  the  Viscount  Harcourt. 

2.  Henry  VIII  in  his  35th  year.     By  an  unknown  artist. 

In  the  Collection  of  the  Duke  of  Buccleuch  and  Oueensberry, 
K.T. 

3.  A  Child,  name  unknown.     Painted  at  Greenwich  in   1590,  by 

Lavina  Teerlinc. 

In  the  Salting  Collection. 

4.  Called  a  portrait  of  Queen  Elizabeth  and  "  the  only  portrait 

of  her    in    profile."     Artist    unknown.     Perhaps    by    John 
Bossam,  or  by  Francis  or  William  Segar. 
In  the  Collection  of  the  Viscount  Harcourt. 

5.  Edward  VI.     Signed  I.S.     Perhaps  by  Gwillim  Streetes. 

In  the  Collection  of  the  Earl  Beauchamp,  K.G. 


PLATE  III 


CHAPTER  III 

NICHOLAS  AND  LAWRENCE    HILLIARD 


IT  is  difficult  to  unravel  the  complex  story  of  early 
English  portraiture  prior  to  the  times  of  Elizabeth  : 
and  especially  puzzling  to  determine  the  names  of 
the  English  portrait  painters  of  Tudor  times  and  to  attri- 
bute«to  each  his  own  proper  work. 

As  has  been  pointed  out  already,  the  man  who  stands 
pre-eminent  amongst  them  was  not  an  Englishman,  but 
a  Swabian.  Although  Holbein  settled  down  and  died  in 
this  country  and  thus  may  be  regarded,  to  all  intents  and 
purposes,  as  an  Englishman  in  the  latter  half  of  his  life, 
he  does  not  give  us  the  same  interest  in  English  art  as  if 
he  had  been  born  and  bred  in  this  country.  Of  the  others 
whose  names  have  been  handed  down  to  us  in  contemporary 
literature,  many  were  foreigners  who  settled  here,  and 
carried  out  commissions,  none  of  them,  with  the  possible 
exceptions  of  Bettes  and  Shute,  can  be  claimed  for  England 
— but  when  we  leave  the  reign  of  Henry  VIII.  and  enter 
upon  that  of  his  great  daughter  Elizabeth,  our  feet  are 
planted  on  firmer  ground.  The  art  of  which  I  speak  was 
essentially  an  English  one,  and  Englishmen  were  those 
who  excelled  in  it,  and  made  its  repute  a  great  one.  This 
is  not  to  say  that  there  were  no  great  exponents  of  it 
elsewhere,  because  Petitot  and  Prieur,  Dumont  and  Isabey, 
Guerin  and  Augustin,  are  important  names  in  France,  Hall 
occupies  an  honoured  place  in  Sweden,  and  is  accompanied 

19 


20  THE  MINIATURE  COLLECTOR 

by  Gillberg  and  Sparrgren,  Fiiger  in  Austria  is  the  great 
name,  with  Chodowiecki,  Dinglinger,  and  Thienponclt  in 
Germany,  Lundens  in  Holland,  Van  Blarenberghe  in 
Flanders  and  Quaglia  in  Spain.  Taking  it  all  in  all,  how- 
ever, and  remembering  that  there  were  scores  of  minor 
miniature  painters  on  the  continent,  and  a  few  great  ones 
in  every  country,  it  is  in  England  that  we  can  boast  of  the 
greatest  men,  and  here,  alone,  is  there  a  long  line  of  minia- 
ture painters  with  great  names  in  every  epoch,  from  Tudor 
times  down  to  the  nineteenth  century. 

Hence  there  is  justification  for  a  pride  in  the  English 
characteristics  of  the  art.  When  Nicholas  Hilliard,  whom 
we  claim  as  the  first  Englishman  who  was  really  proficient 
in  miniature  painting,  was  born,  it  would  seem  easy  to  say 
as  upon  his  own  portraits  at  Welbeck  Abbey  and  in  the 
Buccleuch  collection  he  gives  us  the  required  information. 
The  problem  is,  however,  not  such  a  simple  one  after  all. 
On  one  portrait  at  Welbeck  which  is  dated  I5501  and  on  a 
similar  one  in  the  Buccleuch  2  collection  he  describes  him- 
self as  aged  thirteen  years,  and  on  another  in  the  Buccleuch 
collection  3  dated  1574  he  has  inscribed  AETATIS  SUAE  37, 
giving  us  in  each  instance  his  birth  date  as  1537  or  1538. 
That  being  so  it  would  appear  clear  that  there  must  be 
some  error  on  a  self-portrait  of  the  artist  in  the  Salting 
collection  which  reads  1577  AETATIS  SUAE  30,  and  which, 
as  Mr.  Goulding  in  the  Welbeck  catalogue  has  pointed  out, 
would  give  1547  or  X548  as  his  birth  date  and  would  make 
him  only  twelve  or  thirteen  when  he  painted  a  portrait  of 
Edward  Seymour,  Duke  of  Somerset,  which  is  dated  I56o.4 
In  view  of  the  fact,  however,  that,  as  Mr.  Kennedy  in  his 
work  on  that  collection  points  out,  this  portrait  differs  in 
many  respects  from  the  usual  work  of  Hilliard  and  that  the 

1  No.  12  in  the  Welbeck  catalogue. 

2  No.  A. A.  1 5  in  catalogue. 

3  No.  B.ig. 

4  Buccleuch  collection,  A.i8. 


NICHOLAS  AND   LAWRENCE  HILLIARD      21 

features  are  not  quite  the  same  as  those  in  the  generally 
accepted  portraits  of  the  Protector,  it  may  be  doubted 
whether  Milliard  painted  it,  although  its  ascription  to  him 
"is  of  a  considerable  age  "  and  so  that  difficulty  would 
disappear ;  but  the  puzzle  will  still  remain  because  the 
figures  of  the  date  on  the  Salting  portrait  are  "  clear  and 
untouched "  and  a  mistake  of  ten  years  has  occurred 
somewhere !  Moreover,  it  has  also  been  noted,  that,  if 
Milliard  was  born  in  1537,  he  was  sixty-eight  when  he 
painted  a  portrait  said  to  be  that  of  Lord  Hunsdon  which 
is  dated  r.605,1  but  here  again,  it  may  be  mentioned  that 
Simon  Binninc  painted  his  own  portrait  when  he  was 
seventy-five  and  Petitot  was  in  full  working  power  at 
eighty.  Moreover,  there  is  just  a  possibility  that  the 
Hunsdon  (?)  portrait  was  the  work  of  Lawrence  Hilliard 
and  not  that  of  his  father. 

Even  so  the  puzzle  is  not  at  an  end,  but  is  even  increased, 
when  we  come  to  examine  the  portraits  that  Hilliard 
painted  of  his  father,  the  chief  of  which  is  inscribed  "  Ricar- 
dus  Hilliard  Quondam  Vice  comes  Civitatis  Et  Comitatus 
Exoniae  1560  "2  and  the  companion  one  "Aetatis  suae58. 
Anno  Dom  1577."  3 

This  inscription  would  imply  that  Richard  Hilliard  was 
born  in  1519,  and  if  that  date  is  correct,  it  is  rather  diffi- 
cult to  understand  how  Nicholas  could  have  been  born  in 
1537,  when  his  father  was  only  eighteen,  although,  as  has 
been  pointed  out,  marriages  took  place  at  a  very  early  age 
in  those  days.  We  can  be  perfectly  certain,  however, 
that  Nicholas  could  not  have  painted  his  own  portrait 
when  he  was  three  years  old,  and  by  that  argument  we  are 
brought  back  again  to  the  date  1537.  In  either  case,  we 
arrive  at  his  birth  date  within  ten  years,  and  of  his  death 
we  have  definite  evidence,  as  it  is  recorded  in  the  register 

1  Buccleuch  collection,  A. A. 5. 

2  Salting  collection. 

3  Buccleuch  collection,  D.R.A.i. 


22  THE  MINIATURE  COLLECTOR 


PLATE  IV. 

NICHOLAS   MILLIARD 

(ob.  1619). 

i.     Alicia  Brandon  (Mrs.  Hilliard)  in  her  22nd  year.     Dated  1578. 

2,  3.     John  Croker  and  his  wife. 

At  one  time  in  the  possession  of  Mr.  E.  M.  Hodgkins. 

4.     Nicholas  Hilliard  in  his  syth  year.     Dated  1574. 

Nos.  i  and  4    in  the  collection  of  the  Duke  of  Buccleuch    and 
Queensberry,  K.T. 


PLATE   IV 


NICHOLAS  AND   LAWRENCE  HILLIARD      23 

of  St.   Martin 's-in-the-Fields,    under    date  January  yth, 
1618-19. 

He  was  an  artist  of  great  repute  in  his  day,  as  witness  the 
allusion  to  him  by  Dr.  Donne  in  The  Storm  written  in 
1597,  where  he  says— 

" .     .     .     a  hand  or  eye 
By  Milliard  drawn  is  worth  a  History 
By  a  worse  painter  made.     .     . 

His  work  is  very  characteristic  in  its  exquisite  and  delicate 
elaboration  of  all  the  accessories  of  the  portrait  such  as 
draperies,  embroideries  and  lace,  while  jewels  are  so  repre- 
sented as  to  give  them  almost  the  distinction  and  quality 
of  actual  precious  stones.  His  faces  are  flat,  lacking  in 
vitality  and  tone,  and  distinguished  by  a  weakness  almost 
effeminate,  in  modelling.  It  was,  however,  the  fashion  to 
follow  the  Queen  in  her  ideas  of  portraiture,  and  as  she 
objected  to  shadows,  as  unbecoming,  so  the  portraits  of 
other  sitters  were  carried  out  on  the  same  lines,  and  a 
curious  absence  of  expression  was  the  result.  The  excel- 
lence of  Hilliard's  craftsmanship  cannot  be  gainsaid,  and 
his  skill  in  elaboration  with  its  marvellous  precise  lines  and 
minute  handling  give  to  his  portraits  a  special  fascination 
and  charm.  Moreover,  his  miniatures  are  very  decorative 
works  and  the  inscriptions  they  bear  only  serve  to  add 
to  this  quality ;  the  ornate  shape  of  the  letters,  the 
flourishes  and  rubrications  which  accompany  them  and 
the  gleam  of  the  gold  in  which  they  are  traced,  all  increasing 
the  beauty  of  the  finished  portrait.  They  were,  it  is  clear, 
painted,  as  to  many  of  them,  in  the  open  air,  in  bright 
daylight,  and  hence  they  lack  atmosphere  and  its  conse- 
quent mystery.  Everything  is  set  out  in  an  equal  light, 
simple  and  direct,  and  completed  with  a  precision  akin  to 
that  of  a  worker  in  the  precious  metals  or  in  gems  or  stones. 
The  illustrations  I  give  well  exemplify  these  special  char- 
acteristics of  this  early  painter. 


24  THE  MINIATURE  COLLECTOR 

Hilliard  was,  moreover,  as  the  miniatures  prepare  us  to 
believe,  much  more  than  a  portrait  painter.  He  describes 
himself ,  on  one  of  his  own  miniatures,1  as  "  Aurifaber, 
Sculptor  et  coelebris  Illuminator  "  to  Queen  Elizabeth, 
and  we  have  evidence  bearing  out  this  statement.  He 
both  designed  and  engraved  the  second  Great  Seal  of 
Elizabeth,  the  order  for  which  was  given  July  I5th,  1584,  and 
the  payment  made  by  the  lease  of  some  lands  to  him  in 
1587.  He  was  responsible  also,  it  would  appear  likely,  for 
an  Irish  seal,  the  drawing  for  which  is  in  the  British  Museum, 
and  there  is  some  evidence  that  he  may  have  been  also 
responsible  for  executing  certain  jewels  and  medals. 

Furthermore,  it  has  been  suggested  that  Hilliard  prac- 
tised the  art  of  cutting  precious  stones.  He  certainly  had 
a  knowledge  of  such  work,  and  refers  to  it  in  the  treatise 
he  wrote  on  miniature  painting  to  which  I  allude  later  on. 

Inasmuch  as  his  mother  was  Lawrence,  daughter  of 
John  Wall,  a  goldsmith  of  London,  it  is  possible  that  he 
was  trained  in  the  mysteries  of  the  goldsmith's  craft  by  his 
grandfather,  as  Sir  Richard  Holmes  suggests.2 

In  a  miniature  of  Queen  Elizabeth  attributed  to  Hilliard 
and  preserved  at  Welbeck  Abbey,  there  is  an  actual  diamond 
inserted  in  the  orb  which  the  Queen  holds  in  her  hand. 

There  are  but  few  allusions  to  him  in  the  State  Papers 
of  the  day,  but  Dr.  Philip  Norman,  in  an  article  he  wrote 
for  the  Walpole  Society,3  quotes  the  half-a-dozen  leading 
facts  that  are  known.  His  appointment  as  Limner  to 
Queen  Elizabeth  was  continued  by  her  successor,  and  in 
1617  James  I.  granted  him  by  charter  4  special  privileges 
in  respect  to  his  "  Extraordinarie  Arte  and  Skille  in  Draw- 
inge  Gravinge  and  Imprinting  of  Pictures  and  Representa- 
tion of  US  and  Others."  This  license  was  granted  for 

1  Collection  of  Mr.  L.  Currie  at  Minley  Manor. 

2  See  Burlington  Magazine,  Jan.,  1906,  p.  229. 

3  See  Vol.  I.,  1912,  pp.  1-54. 

4  Rymer's  "  Fcedera,"  xvii.  15. 


NICHOLAS  AND   LAWRENCE  MILLIARD       25 

twelve  years,  and  in  it  he  is  termed  "  our  beloved  servant 
Nicholas  Milliard,  Gentleman,  our  principal  Drawer  for  the 
small  portraits  and  Imbosser  of  our  Medallies  of  Gold." 
In  1610  he  is  also  referred  to  as  the  Painter  to  the  King, 
and  it  is  then  stated  that  he  had  suffered  from  serious 
illness,  but  "  resolved  before  he  died  to  recommend  the  suit 
of  William  Labourer,  Goldsmith,  who  has  discovered  a  new 
mode  of  repairing  highways  at  half  the  usual  cost."1 

There  is  also  some  evidence  that  at  one  time  he  went  to 
France  and  worked  at  the  French  Court,  while  there 
painting  several  interesting  portraits  of  notable  French 
ladies.  There  was  unquestionably  an  English  painter  who 
was  employed  at  that  time  by  the  Due  d'Alencon,  and 
who  is  called  in  his  accounts  "  Nicholas  Belliart,"  pro- 
bably a  mispronunciation  of  Milliard.  I  have  given  some 
information  on  this  question  in  the  Pierpont  Morgan 
catalogue.2 

Perhaps  even  more  interesting  than  Milliard's  pictorial 
art  was  the  fact  that  he  was  an  author,  and  that  to  his  hand 
we  owe  a  treatise  on  the  art  of  miniature  painting,  the 
first,  and  in  some  ways  the  most  important,  that  was  ever 
written.  It  was  inspired  by  Richard  Haydocke,  the  trans- 
lator of  Lomazzo,  and,  although  we  have  no  manuscript 
of  it  in  Milliard's  own  handwriting,  and  only  one  which  was 
prepared  by  a  somewhat  careless  scribe  in  1624,  and  was 
assigned  to  Milliard  by  an  inscription  upon  it  in  the  eight- 
eenth century  by  the  engraver  and  antiquary,  George 
Vertue ;  there  is  yet  very  complete  evidence  that  it  was  the 
work  of  Milliard  himself.  All  this  evidence  is  well  set  out 
by  Dr.  Philip  Norman  in  the  article  in  the  Walpole  volume 
already  alluded  to,  and  moreover,  Dr.  Norman  prints  the 
treatise  in  full  and  gives  a  considerable  amount  of  valuable 
information  concerning  its  history.  Haydocke,  in  his 

1  State  Papers,  Dom.  Series,  1603-1610,  liii.  595. 

2  See  Vol.  I.,  1906,  pp., 24-26. 


26  THE  MINIATURE  COLLECTOR 

tract  containing  "  The  Artes  of  Curious  Pain  tinge,  Carvinge 
and  Buildinge,"  compared  Hilliard  as  a  painter  with 
Raphael,  and  then  proceeded  thus  :  "  For  (to  speake  a  truth) 
his  perfection  in  ingenious  illuminating  or  limning,  the 
perfection  of  painting,  is  (if  I  can  judge)  so  extraordinarie, 
that  when  I  devised  with  my  selfe  the  best  argument  to 
set  it  forth,  I  found  none  better  than  to  perswade  him  to 
doe  it  himselfe  to  the  view  of  all  men  by  his  pen  ;  as  hee 
had  before  unto  very  many,  by  his  learned  pencell,  which 
in  the  end  he  assented  unto,  and  by  mee  promiseth  you  a 
treatise  of  his  owne  practice  that  way  with  all  convenient 
speede." 

The  MS.  which  Vertue  has  styled  "  A  treatise  concerning 
the  Arte  of  Limning,  writ  by  N.  Hilliard,"  fills  some  thirty- 
two  pages  out  of  a  MS.  of  thirty-six  pages,  which  is  pre- 
served in  the  library  at  Edinburgh  University.  It  is  full 
of  information  as  to  how  to  attain  skill  in  the  art  of  miniature 
painting,  and  it  describes  an  interview  which  Hilliard  had 
with  Queen  Elizabeth,  when  they  discussed  the  kind  of 
light  most  suitable  for  miniature  portraits,  and  the  rule  was 
laid  down  that  shadow  was  only  useful  for  concealing 
deficiencies  in  the  sitter.  That  having  been  accepted,  it 
will  readily  be  understood  that  the  Queen,  proud  of  her 
beauty,  and  believing  that  in  her  countenance  there  were 
no  deficiencies  to  be  concealed,  chose,  said  Hilliard,  to  sit 
for  her  portrait  "  in  the  open  ally  of  a  goodly  garden, 
where  no  tree  was  neere  nor  anye  shadowe  at  all." 

Hilliard  also  gives  us,  in  the  same  MS.,  the  receipts  for 
the  preparation  of  various  colours,  a  list  of  the  pigments 
which  he  used,  and  in  some  instances,  the  price  which  he 
paid  for  them. 

There  is  another  treatise  on  "  The  Art  of  Limning  " 
which  has  been  attributed  to  Hilliard,  but  with  insufficient 
evidence,  and  there  is  little  doubt  that  this  was  written  by 
Edward  Norgate.  It  has  recently  been  printed  in  full, 
edited  from  the  original  MS.  and  collated  with  other  MSS. 


NICHOLAS  AND   LAWRENCE  HILLIARD      27 

by  Mr.  Martin  Hardie,1  who  has  added  to  the  treatise  an 
introduction  of  great  value,  in  which  he  has  carefully 
arranged  the  facts  concerning  that  and  other  similar  MSS., 
and  has  given  an  excellent  analysis  of  the  Norgate  treatise. 
This  is  also  fully  referred  to  in  Dr.  Norman's  article  already 
mentioned. 

As  regards  Hilliard's  domestic  life,  it  seems  clear  that  he 
married  twice,  but  of  his  second  wife,  who  probably  pre- 
deceased him,  we  know  nothing.  His  first  wife  was  one 
Alicia  Brandon,  daughter  of  John  Brandon,  Chamberlain 
of  the  City  of  London,  a  good-looking  woman,  whose  por- 
trait he  painted  in  her  twenty-second  year,  inscribing  it 
with  a  statement  as  to  who  she  was,  and  with  his  own 
signature  in  monogram,  as  well  as  the  date  and  age  of  the 
sitter.  This  very  important  miniature,2  dated  1578,  is  con- 
tained in  the  Duke  of  Buccleuch's  collection,  and  it  also 
bears  representations  of  the  arms  of  Brandon  and  Hilliard, 
the  former  on  the  spectator's  right,  the  latter  on  the  left. 
The  portrait  of  Hilliard's  father,  as  we  have  seen,  was  also 
fully  attested  by  a  similar  inscription,  and  the  original 
silver-gilt  frame  in  which  that  miniature  was  contained, 
and  upon  which  the  inscription  appears,  is  still  in  existence 
at  Penshurst,  and  is  the  property  of  Lord  De  L'Isle.  The 
miniature  itself  passed  from  the  Rich  family  into  the  hands 
of  Mrs.  Claverton,  whose  niece,  Mrs.  Thomas  Liddell,  was 
its  next  possessor,  and  she  in  turn  gave  it  to  her  niece 
Mrs.  Sartoris,  by  whom  it  was  sold  at  Christie's  to  Mr. 
Salting,  and  it  now  forms  part  of  the  Salting  bequest  to  the 
Victoria  and  Albert  Museum.  A  very  similar  portrait  of 
Richard  Hilliard  belonged  at  one  time  to  Walpole,  and  was 
sold  at  the  Strawberry  Hill  sale.  It  is  now  in  the  collection 
of  the  Duke  of  Buccleuch.3  This,  however,  is  oval,  and  the 


1  "  Miniatura,  or  the  Art  of  Limning,"  1919. 

2  Buccleuch  collection,  B.5. 

3  Ibidem,  D.R.A.i. 


28  THE   MINIATURE  COLLECTOR 

lettering  and  figures  are  differently  arranged  to  the  one  in 
the  National  collection. 

The  contents  of  Milliard's  will  are  known :  there  are 
legacies  to  the  poor,  to  his  two  sisters,  and  to  his  servant, 
and  the  residue  of  his  estate  was  left  to  his  only  son 
Lawrence. 

Commencing  with  the  self-portrait  of  Hilliard  in  the 
Welbeck  collection  dated  1550  1  and  the  Buccleuch  one 
of  1560  there  are  dated  miniatures  by  Hilliard  in  various 
collections  from  1571  down  to  1612,  a  period  of  forty-two 
years  with  the  exceptions  of  the  years  1576,  1580,  1582- 
3-4,  1587,  1592,  1596-7-8,  1600,  1602,  1604,  1606  and 
1611,  so  that  in  that  long  period  only  fifteen  years  are 
definitely  unrepresented,  and  during  those,  we  may  be 
pretty  sure  that  Hilliard  was  at  work,  although  no  dated 
portraits  for  those  fifteen  years  can  now  be  traced.  It 
seems  also  to  be  probable,  as  we  have  already  stated,  tha 
he  was  responsible  for  several  jewels  and  medals  in  gold.*- 

To  the  latter  there  is  definite  allusion  in  State  Papers  and 
Warrants  of  appointments,3  although  no  one  medal  can  be 
definitely  attributed  to  him,  but  Miss  Helen  Farquhar, 
who  has  devoted  close  attention  to  Hilliard 's  work  and  to 
whom  I  am  greatly  indebted  for  information,  has  ably  set 
forth  arguments  in  favour  of  Hilliard  being  responsible 
for  a  medal  to  commemorate  the  "  Peace  with  Spain," 
which  Pinkerton  without  any  explanation  had  stated  was 
supposed  to  be  done  by  Hilliard,  and  also  for  the  famous 
Armada  jewel  now  in  the  possession  of  Mr.  J.  Pierpont 
Morgan.  Her  article  in  the  Numismatic  Chronicle  concern- 
ing "  Nicholas  Hilliard  Embosser  of  Medals  in  Geld  " 
contains  all  the  information  that  can  be  gathered  up  as  to 
this  branch  of  his  art ;  and  her  arguments,  although  perhaps 

1  See  Welbeck  catalogue,  pp.  33  and  34. 

2  "  Twelve  Medals  in  Gold."     See  Privy  Seal  Book,  iii.  62,  in  the 
P.R.O. 

3  See  Rymer's  "  Fcedera,"  xvii.  15. 


NICHOLAS  AND   LAWRENCE  HI LLIARD     29 

not  conclusive,  go  a  long  way  towards  proving  the  conten- 
tion she  has  so  ably  set  forth. 

Some  interesting  information,  embracing  several  new 
facts  concerning  Nicholas  Hilliard,  has  recently  come  to 
light,  owing  to  the  investigations  of  Mr.  John  Warrack,  of 
Edinburgh,  in  connection  with  his  course  of  Rhind  lectures 
(1919)  on  Furnishing  and  Domestic  Life  in  Early  Scotland, 
and  he  has  very  kindly  permitted  me  to  make  use  of  his 
notes. 

In  a  work  written  by  one  Steven  Atkinson  in  1619 
(actually  rather  earlier),  entitled  "  The  Disco verie  and 
Historic  of  the  Gold  Mynes  in  Scotland,"  it  is  recorded  that 
Queen  Elizabeth  had  a  very  high  opinion  of  the  gold  mines 
of  Scotland,  and  was  ready  to  make  some  arrangements  for 
working  them,  provided  that  she  could  have  an  advantage 
herself  therefrom.  The  entry  goes  on  to  say  that  one 
Cornelius  de  Vosse,  "  a  most  cunninge  pictur-maker,  and 
excellent  in  arte  for  trialls  of  meneralls  and  menerall 
stones,  sometime  dwelling  in  London,  a  young  man  well 
acquainted  with  Mr.  Nicholas  Hilliard,  then  principal 
drawer  of  small  pictures  to  the  late  Queen  Elizabeth, 
procured  the  same  Nicholas  Hilliard  to  adventure  with 
him  into  Scotland,  and  to  send  his  servant  and  freind  as 
an  agent  thither,  by  name  Arthur  Van  Brounckhurst,  for 
at  that  time  there  was  a  great  report  and  fame  that  went 
of  the  naturall  gold  gotten  within  the  kingdom  of  Scotland." 
The  record  then  goes  on  to  state  that  Hilliard  procured  a 
patent  which  was  granted  to  De  Vosse  that  they  might 
seek  gold  "  without  molestation,"  and  then  Hilliard  and  De 
Vosse  together  made  an  "  assignment  "  to  Arthur  Van 
Brounckhurst,  and  he  "sett  workmen  to  worke."  The 
patent  appears  to  have  had  a  special  provision,  by  which 
Van  Brounckhurst  was  admitted  to  bring  to  England  a 
great  quantity  of  gold  unrefined,  and  test  it  in  this  country. 
The  workmen  proceeded  to  search  several  moors,  and  found, 
it  is  said,  "  gold  in  sondry  places,"  but  the  record  states, 


30  THE  MINIATURE   COLLECTOR 


PLATE  V. 
NICHOLAS  MILLIARD 

(ob.    1619). 


1.  The  Due 

(See  below). 

2.  Queen  Elizabeth. 

Collection  of  Mrs.  Sotheby. 

3.  Queen  Elizabeth.     This  portrait  and  the  one  of  the  Due  d'Alen- 

?on,  both  painted  in  about  1570,  appear  at  the  beginning 
and  end  of  Queen  Elizabeth's  Prayer  Book,  which  belonged  to 
James  II.,  and  was  given  by  him  to  the  Duke  of  Berwick, 
from  whom  it  passed  to  Horace  Walpole  and  thence  to  the 
Duchess  of  Portland.  At  her  sale  in  1786  it  was  bought  by 
Queen  Charlotte,  from  whom  it  came  to  the  Duchess  of  Leeds, 
and  thence  in  1884  to  Mr.  Whitehead. 
It  is  now  the  property  of  the  Crown. 


PLATE   V 


NICHOLAS  AND   LAWRENCE  MILLIARD      31 

"  he  was  forced  to  leave  it  all  att  the  Mint  House  in  Scot- 
land, by  speciall  command  from  his  Majesty,  being  then  in 
minority."  Van  Brounckhurst  was  to  have  had  correct 
valuations  made  of  the  gold  discovered,  and  he  went  into 
Scotland  prepared  with  what  is  called  "  a  store  of  gold  and 
silver  "  to  pay  for  it.  The  difficulty,  however,  of  having  to 
leave  it  in  Scotland  was  a  very  serious  one,  and  apparently 
Van  Brounckhurst  then  applied  to  the  Earl  of  Morton,  who 
was  Regent,  but  he  would  not  give  way,  although  Van 
Brounckhurst  was  a  suitor  for  four  months,  and,  says  the 
record,  "  did  not  prevail,  and  so  at  last  he  was  forced  to 
become  one  of  his  Majesties  sworne  servants  at  ordinary  in 
Scotland,  to  draw  all  the  small  and  great  pictures  for  his 
Majesty."  "  By  this  means,  Mr.  Hilliard  and  Cornelius  de 
Vosse  lost  all  their  chardges,  and  never  since  got  any 
recompense,  to  Mr.  Hilliard 's  great  hindrance,  as  he  saith," 
concludes  the  document,  "  who  yet  liveth  and  confirmeth 
the  same,"  Mr.  Warrack  has  discovered  that  Cornelius 
de  Vosse  and  three  other  Germans  had  a  loan  of  £500  from 
Lord  Morton  on  February  7th,  1574-5,  which  had  not 
been  repaid,  and  that  it  was  transferred  to  Esme,  Earl 
of  Lennox,  as  executor,  and  was  to  be  repaid  by  August 
ist,  1581.  He  suggests  that  perhaps  the  reason  why 
De  Vosse  did  not  get  his  patent  was  because  this  loan  was 
outstanding,  and  was  to  be  repaid  from  the  gold  enterprise. 
Apparently,  the  patent  was  prepared,  because  there  is  a 
reference  in  the  Privy  Council  records  to  it,  under  date 
March  4th,  1567,  but  it  is  expressly  stated  that  it  was  not 
signed  by  Lord  Morton. 

The  reference  to  Van  Brounckhurst 's  becoming  one  of 
his  Majesty's  servants,  and  painting  the  small  and  great 
pictures  for  King  James,  opens  up  a  very  interesting 
question,  because  I  am  not  aware  of  any  series  of  paintings 
attributed  to  this  particular  artist.  It  has  been  suggested 
by  a  writer  1  who  annotated  this  history  of  the  gold  mines 
1  Gilbert  Laing  Measen,  1825. 


32  THE  MINIATURE  COLLECTOR 

that  it  was  possible  that  a  long  series  of  Scottish  kings 
which  at  one  time  hung  in  the  gallery  at  Holyrood  or  a 
somewhat  similar  series  that  was  at  one  time  in  Newbattle 
Abbey,  may  have  been  the  work  of  Van  Brounckhurst ; 
but  this  can  hardly  be  possible,  because  it  is  known  that  De 
Wet  painted  the  Holyrood  pictures  in  the  time  of  Charles  I. 
and  perhaps  the  other  series  also.  That  Van  Brounckhurst 
did  paint  pictures  in  Scotland  is  clear  from  a  precept  of 
September  gth,  1580,  signed  by  James  VI.,  in  which, 
however,  he  is  referred  to  as  "  Arnold  "  Brounckhurst, 
instead  of  "  Arthur,"  and  which  calls  him  "  our  lovit 
servitour  Arnold  Bronckhorst  our  painter,"  and  authorises 
the  payment  of  threescoir  four  pundis  rest  and  awand  to 
him  "  for  two  portraits  of  his  Majesty  and  one  of  George 
Buchanan,"  with  an  additional  one  hundred  marks  as  "  ane 
gratitude  for  his  repairing  to  this  countrey."  A  "  grati- 
tude "  is  rather  an  amusing  statement,  because  it  appears 
from  the  preceding  allusions  that  Van  Brounckhurst  had  no 
desire  to  settle  down  in  Scotland,  but  was  compelled,  if  he 
saw  any  chance  of  a  return  on  his  expenditure,  to  do  so. 

Of  Lawrence  Hilliard,  named,  no  doubt,  after  his  grand- 
mother, and  who  succeeded  Nicholas,  we  know  but  little,  and 
it  is  not  easy,  save  in  a  very  few  instances  where  the  por- 
traits are  actually  signed,  to  distinguish  his  work  from 
that  of  his  father.  An  interesting  allusion  to  him  was 
discovered  by  Mr.  Richard  Goulding  in  the  Hatfield  Papers. 
It  is  contained  in  a  letter  from  Nicholas  Hilliard  to  the 
Earl  of  Salisbury,  dated  May  6th,  I606,1  and  after  referring 
to  his  having  drawn  a  portrait  of  Lord  Salisbury  some  five 
years  before,  the  painter  goes  on  to  say,  "  I  found  that 
favour  with  your  Lordship  that  your  Lordship  accepted 
my  humble  offer  of  my  Soon  Lawrence  his  service  to  your 
Lordship  and  your  Lordship  willed  me  to  retayne  him, 
still  to  perfect  him  more,  in  drawing  which  I  have  done. 

1  Original  at  Hatfield.     See  transcription  in  Welbeck  catalogue, 


NICHOLAS  AND   LAWRENCE  MILLIARD      33 

And  he  dothe  his  Majesty  now  good  service  bothe  in  limned 
portraits  and  in  ye  Medales  of  Golde.  And  my  hope  and 
humble  request  is,  that  your  Lordship  upon  his  honorable 
and  good  ockasion  will  let  him  wayte  on  your  Lordship  in 
your  Lordships  Lyvery  at  ye  feasts  solempnising  of  St. 
George."  Finally  he  adds,  "  I  am  as  yet  not  hable  to  go 
abroade  to  which  makes  me  humbly  bolde  to  wryte  this  to 
your  Lordship  this  6th  of  Maye,  1606.  Your  honors  most 
bounden  and  most  humble  at  command  Nic  Hillyarde." 
In  the  following  year1  (1607)  Lawrence  Milliard  was  named 
by  the  King  as  "  Limner  in  reversion  after  Nicholas 
Hillyard  his  father/'  and  this  was  probably  the  privilege 
for  which  his  father  had  pleaded  in  the  letter  quoted 
above. 

Another  allusion  to  him  is  contained  in  Van  der  Doort's 
catalogue,  where  it  is  stated  that  Charles  I.  received  the 
portrait  of  Queen  Elizabeth,  now  in  the  Duke  of  Buccleuch's 
collection,  from  Lawrence  Milliard  describing  it  as  "  done 
by  Old  Milliard  and  bought  by  the  King  of  young 
Milliard." 

A  final  reference  occurs  in  1624  when  Lawrence  Milliard 
was  paid  £42  from  the  treasury  for  five  pictures,  but  the 
warrant  does  not  specify  whom  they  represented.  The 
half-dozen  2  signed  works  by  the  younger  Milliard  which 
are  all  I  have  been  able  to  note  are  distinguished  by  the 
beauty  of  the  calligraphy  in  which  the  inscriptions  are 
written  and  by  a  richer  and  more  varied  colour  scheme 
than  that  of  the  older  artist.  The  writing  is  more  florid 
and  is  full  of  exquisite  curves  and  flourishes.  I  am  disposed 
also  to  think  that  Lawrence's  painting  is  not  quite  so 
formal,  hard  and  rigid  as  was  that  of  his  father. 

Two  other  pupils  besides  his  son  Lawrence  are  given  to 

1  State  Papers,  Dom.  Series,  1603-1610,  Oct.  5,  1607,  xxviii.  374. 

2  The  three  chief  are,  two  belonging  to  Earl  Beauchamp,  dated 
respectively  1636  and  1638,  and  one  in  the  Pierpont  Morgan  collec- 
tion, dated  1640. 


34  THE  MINIATURE   COLLECTOR 


PLATE  VI. 
NICHOLAS   AND    LAWRENCE   MILLIARD . 

1.  Nicholas   Milliard.     By   himself. 

In  the  Collection  of  Mr.  L.  Currie. 

2.  Queen  Anne  of  Denmark  (1574-1619).     By  Nicholas  Milliard. 

Signed. 

In  the  Collection  of  the  Duke  of  Portland,  K.G. 

3.  A  Gentleman,  name  unknown  (aged  37).     By  Lawrence  Milliard 

(ob.  1640).     Signed. 

In  the  Collection  of  the  Earl  Beauchamp,  K.G. 

4.  Nicholas  Milliard.     By  himself.     Signed  and  dated  1550,  and 

inscribed    OPERA    QVEDAM    IPSIVS    NICHOLAIS    HELIARD    IN 

JETATIS    SVM    13. 

In  the  Collection  of  the  Duke  of  Portland,  K.G. 

5.  A  Gentleman,  name  unknown  (aged  31).     By  Lawrence  Milliard 

(ob.   1640).     Signed. 

In  the  Collection  of  the  Earl  Beauchamp,   K.G. 


PLATE  VI 


NICHOLAS  AND   LAWRENCE  HILLIARD       35 

Milliard  by  Haydocke.  In  the  preface  to  his  translation 
of  Lomazzo  on  Painting  (1598)  he  refers  to  Hilliard's  "  two 
schollars  M.  Isaac  Oliver  for  Limning  and  Rowland  Lockey 
for  Oyle  and  Lim  :  in  some  measure."  To  the  former  I 
make  particular  reference  in  the  next  chapter.  Whether 
Rowland  Lockey  was  a  brother  of  Nicholas  Lockey,  a 
painter  who  was  responsible  for  a  portrait  of  John  King, 
Bishop  of  London,  is  not  known,  and  there  is  no  information 
to  be  given  concerning  him  more  than  that  he  is  believed 
to  have  painted  a  group  representing  Sir  Thomas  More  his 
fr  uily  and  his  lineal  heirs  male,  now  belonging  to  Mr. 
Strickland  and  of  which  a  fine  water-colour  copy  is  in  the 
possession  of  Mrs.  Sotheby. 

We  do  know  that  a,Rowland  Lockey  resided  in  Fleet  Street, 
and  fhat  he  is  mentioned  by  Francis  Meres  in  1598,  among 
the  eminent  artists  then  living  in  England.  It  has  also 
been  suggested  that  he  and  not  Nicholas  was  responsible 
for  the  portrait  of  Dr.  King  and  that  Nicholas  only  directed 
the  engraving  of  it — but  with  these  few  facts  our  informa- 
tion comes  to  an  end. 

In  Discount  Harcourt's  collection  there  is  a  portrait  of 
Lady  Mary  Sydney  which  resembles  the  v/ork  of  Hilliard 
but  is  different  in  many  respects  from  his  ordinary  per- 
formances and  also  from  those  of  his  son.  I  am  disposed 
to  attribute  it  to  one  of  the  Lockeys,  and  perchance  also,  a 
profile  portrait  of  Queen  Elizabeth  in  the  same  collection 
(both  by  very  kind  permission  figured  for  the  first  time  in 
this  book)  may  have  been  the  work  of  the  other  Lockey, 
although  I  am  more  inclined  to  give  it  to  John  Bossam  or 
to  Segar. 

Shute  and  Bettes  are  even  more  puzzling  identi- 
ties. They  are  both  mentioned  by  Haydocke,  and  Shute 
is  usually  identified,  on  the  authority  of  Walpole,  with 
John  Shute,  the  painter  and  architect,  who  published 
a  treatise  on  architecture  in  I563.1  To  him  I  am  inclined 

1  See  Facsitaile  of  Shute's  Book  by  Lawrence  Weaver,  Lond.  1912 
P-  15- 


36  THE  MINIATURE  COLLECTOR 

to  give  miniatures  which  appear  to  be  signed  with  the 
conjoined  initials  J.  S.  or  with  the  single  initial  S.,  one  a 
portrait  of  Edward  VI.  belonging  to  Earl  Beauchamp, 
and  the  other  Dona  Maria,  Infanta  of  Portugal,  who  is  said 
on  good  authority  to  have  been  in  Paris  when  Shute  passed 
through  that  city  on  his  way  to  Italy.1  Shute  died  on 
September  25th,  1563.  There  were  two  painters  known  as 
Bettes,  John  and  Thomas,  and  I  attribute  to  the  latter  a 
miniature  of  the  Earl  of  Bristol  in  the  Pierpont  Morgan 
collection  which  is  clearly  signed  T.  B.2  There  are  miniatures 
belonging  to  this  same  period  signed  H.  J.,  G.  T.  and  I.  S., 
but  no  artists  have  at  present  been  discovered  whose  names 
correspond  to  these  initials. 

1  In  the  Pierpont  Morgan  collection,  see  catalogue,  Vol/L,  No.  22. 

2  Ibidem,  No.  79. 


CHAPTER  IV 

THE   OLIVERS 


ris  rather  a  curious  circumstance  in  connection  with 
miniature  painting,  that  so  often  the  artists  have  to 
be  regarded  in  couples.  There  were,  as  we  have  seen, 
two  Milliards.  There  are  two  Olivers  to  be  considered. 
Following  them,  we  come  to  two  persons  of  the  name  of 
Hoskins,  one  of  whom  was  certainly  a  miniature  painter, 
and  the  other  almost  certainly  so.  Then  follow  two 
Coopers,  Alexander  and  Samuel,  and  there  were  two  Engle- 
hearts,  and  two  artists  of  the  name  of  Lens,  two  named 
Beale,  two  Plimers,  two  Smarts,  two  Robertsons,  two 
Petitots,  and  so  on. 

Of  the  Olivers,  we  possess  rather  more  information  than 
of  the  artists  who  preceded  them,  and  this  father  and  son, 
Isaac  and  Peter  Oliver,  took  very  high  positions  with  regard 
to  miniature  painting.  They  were  far  greater  artists  than 
were  the  Milliards.  The  art  made  great  advances  in  their 
hands.  The  figures  themselves  lost  the  flat  illuminated 
style  which  they  had  in  Milliard's  time.  They  were  far 
better  drawn,  possessed  of  a  richer  colour  and  greater 
modelling,  while  there  was  an  expression  of  character  and 
dignity  about  the  works  of  Isaac  and  Peter  Oliver,  which 
was  unequalled  at  that  time  in  Europe,  and  indeed  has 
hardly  been  approached  since  their  day. 

It  seems  clear  that  Isaac  Oliver  was  of  French  origin, 
and  was  born  about  1556,  and  Dr.  Cust  has  pointed  out 

37 


38  THE   MINIATURE  COLLECTOR 

that  there  is  some  reason  for  believing  him  to  be  identical 
with  a  certain  Isaac  Olivier  of  Rouen,  who  on  February  gth, 
1602,  was  married  at  the  Dutch  Church,  Austin  Friars,  to 
Sara  Gheeraerts,  and  became  naturalised  on  December  6, 
j.606.1  He  seems  to  think,  and  with  some  reason,  that  Oliver's 
father  and  mother  were  Huguenots  who  took  refuge  in 
England  when  Rouen  was  captured  by  the  Guises  in  1562. 
Sara  his  wife  appears  to  have  been  the  daughter  of  Marcus 
Gheeraerts  the  elder,  by  his  second  wife  Susanna  de  Critz, 
who  was  certainly  related  to  John  de  Critz,  serjeant  painter 
to  James  I.  We  know  that  he  was  a  pupil  of  Nicholas 
Hilliard,  as  Hay  do  eke  gives  us  this  information  in  his 
introduction  to  Lomazzo's  "Art  of  Painting."  Other 
details  which  have  been  discovered  respecting  Oliver  prove 
that  he  resided  in  Blackfriars,  that  he  died  on  October  2nd, 
1617,  aged  about  sixty-one,  and  that  he  was  buried  in  the 
church  of  St.  Anne,  Blackfriars,  where  a  monument  was 
erected  to  his  memory,  with  a  bust  and  epitaph,  which  was 
destroyed  in  the  Great  Fire  of  London.2  His  will  was  dated 
June  4th,  1617,  and  proved  on  October  30th,  and  by  it  his 
wife  was  appointed  his  executrix.  He  bequeathed  all  his 
drawings  and  lymnings  to  his  eldest  son  Peter,  the  artist 
to  whom  I  make  allusion  next. 

As  regards  Oliver's  work,  perhaps  his  most  important 
drawing  is  the  one  he  made  of  Queen  Elizabeth,  in" the 
richly  ornamented  robes  which  are  said  to  have  been  those 
in  which  she  went  to  St.  Paul's  Cathedral,  to  return  thanks 
for  the  defeat  of  the  Spanish  Armada.  This  portrait  was 
finely  engraved  by  Crispin  van  de  Pass,  the  elder,  and  it 
has  been  stated  that  the  original  drawing  for  it  by  Oliver 
is  the  one  on  vellum  now  preserved  in  the  Royal  collec- 
tion. 

It  has  also  been  stated  that  he  painted  in  oil,  and  Vertue, 

1  Dr.  Shaw's    "  Denisations  and  Naturalisations, \  1911,  p.  n. 

2  D.  N.  B. 


THE   OLIVERS  39 


in  his  MSS.,1  refers  to  a  portrait  of  the  artist  himself, 
painted  in  oil,  and  in  two  other  places,2  to  five  different 
portraits,  those  of  Thomas  and  William  Pope,  of  Lord 
Chandos,  of  Thomas  Cavendish,  and  of  an  unknown  man, 
all  painted  in  oil,  on  board,  by  Oliver,  but  it  has  not  been 
found  possible  to  identify  with  certainty  any  of  these 
portraits. 

His  miniatures  can  be  found  in  almost  every  important 
collection,  notably  in  the  Royal  collection,  at  Welbeck 
Abbey,  in  the  collection  of  the  Duke  of  Buccleuch,  and  in 
the  Strawberry  Hill  collection,  which  is  now  divided  between 
Mr.  Wingfield-Digby  and  Mr.  Burdett-Coutts.  One  of 
his  most  notable  works  is  the  interesting  group  of  the  three 
sons  of  the  second  Viscount  Montagu  which  he  painted  in 
1598,  and  which  was  saved  from  the  disastrous  fire  at 
Cowdray  in  1793,  and  now  belongs  to  the  Marquess  of 
Exeter.  There  are  two  fine  copies  of  this  group  in  the 
possession  of  Earl  Spencer. 

The  works  of  Isaac  Oliver  possess  one  characteristic  in 
common  with  those  of  Hilliard.  There  is  no  mystery 
about  them.  Every  detail  of  the  picture  is  seen  in  an 
equal  light,  and  everything  is  in  similar  focus.  Like  his 
master,  he  aimed  at  elaboration,  careful  painting  of  all  the 
details  of  embroidery,  lace  or  jewellery,  with  infinite  care, 
and  an  almost  microscopic  minuteness,  but  he  had  a  richer 
sense  of  colour  scheme,  greater  vigour  in  draughtsmanship, 
and  a  much  fuller  ability  to  represent  flesh  and  to  carry 
out  the  necessary  modelling.  Walpole3  regarded  him  as 
a  genius.  He  said  that  in  England  we  "  had  nobody  to  put 
in  competition  with  Oliver,  except  it  be  our  own  Cooper, 
who,  though  living  in  an  age  of  freer  pencil,  and  under  the 
auspices  of  Vandyck,  scarce  compensated,  by  the  boldness 

1  B.  M.,  Add.  MSS.  23068.64,  old  pagination,  really  f.  4ob. 

2  Ibidem,  23072-131  and  23073.  f.  12. 

3  "  Anecdotes,"  1762,  I.   153. 


40  THE  MINIATURE  COLLECTOR 


PLATE  VII. 

ISAAC   OLIVER 
(1556-1617). 

1.  The  Countess  of  Essex  (the  poisoner),  wife  of  Robert  Devereux, 

Earl  of  Essex.     Signed. 

2.  Queen  Anne  of  Denmark.     Signed. 

3.  Mrs.  Holland  (1556-1617).     Signed. 

All  three  in  the  Collection  of  Mrs.  Sotheby. 

4.  Prince  Henry,  son  of  James  I.,  as  a  baby. 

In  the  Collection  of  the  Earl  of  Dysart. 


PLATE   VII 


THE  OLIVERS  41 


of  his  expression,  for  the  truth  of  nature  and  delicate 
fidelity  of  the  older  master." 

Of  his  career,  we  have  practically  no  information,  save 
one  detached  fact,  that  in  1596  he  was  in  Venice,  because 
he  painted  a  portrait  there  of  Sir  Arundel  Talbot,1  and 
he  gives  us  the  information  himself  by  an  inscription  on  the 
reverse  of  the  miniature.  Mr.  Goulding  draws  attention 
to  the  fact  that  miniatures  dated  as  well  as  signed  are 
somewhat  rare.  The  earliest  he  quotes  is  the  Duke  of 
Buccleuch's  miniature  of  Sir  John  Clench,  which  is  dated 
1583,  and  he  then  mentions  a  fine  example  in  the  possession 
of  the  Queen  of  Holland,  dated  1588.  The  Talbot  miniature 
is  dated  1596,  the  one  belonging  to  Lord  Exeter 
1598,  a  portrait  in  the  Salting  collection  1610,  another 
anonymous  portrait  belonging  to  the  Queen  of  Holland, 
1614,  and  three  are  dated  1616,  one  at  Windsor,  an- 
other at  Belvoir,  and  the  third  in  the  Victoria  and  Albert 
Museum.  Oliver's  signature,  as  a  rule,  is  composed  of  the 
conjoined  initials  I.  O.,  the  I.  being  run  through  the  middle 
of  the  O.  It  is  generally  to  be  seen  in  gold,  and  as  a  rule, 
on  the  right  of  the  miniature  as  it  faces  the  observer,  very 
often  low  down,  but  there  are  recorded  examples  of  Oliver's 
work  bearing  his  own  name,  two  drawings,  for  instance,  at 
the  British  Museum,  being  signed  Is.  Ollivier.  The  last 
work  which  he  commenced,  he  left  incomplete.  It  was  a 
large  limning,  representing  the  entombment  of  Christ,  with 
a  great  number  of  figures.  It  eventually  passed  into  the 
Royal  collection,  where  it  still  remains.  It  was  the  subject, 
Dr.  Cust  tells  us,  of  unstinted  admiration  from  his  contem- 
poraries. 

The  younger  Oliver  was  Isaac's  son,  perhaps  by  his  first 
wife,  because  it  would  seem  as  though  Isaac  Oliver  must 
have  been  married  at  least  twice,  and  possibly  even  three 
times.  Certainly,  his  younger  sons  were  under  age  at  the 

1  Now  at  the  Victoria  and  Albert  Museum. 


42  THE     MINIATURE  COLLECTOR 

time  of  his  death,  and  therefore  must  have  been  by  a  later 
wife  than  the  mother  of  Peter  Oliver,  who  was  born  in 
1594.  The  younger  man  resided  at  Isleworth,  in  Middlesex, 
and  there  he  died  in  December,  1647,  and  he  was  buried  on 
December  22nd  beside  his  father  in  St.  Anne's,  Black- 
friars.1  Who  his  wife  was,  we  do  not  know,  except  that 
her  Christian  name  was  Anne.  It  has  been  suggested  that 
her  name  was  Morrell,  but  this  has  probably  arisen  from 
confusion  with  a  kinswoman  of  Isaac  Oliver,  one  Judith 
Morrell,  who  is  mentioned  in  the  elder  Oliver's  will.  We 
•do  possess,  however,  a  rather  interesting  story  concerning 
Mrs.  Oliver,  to  the  effect  that  after  the  Restoration,  Charles 
II.  heard  that  Oliver  had  made  duplicates  of  most  of  the 
pictures  which  he  had  painted  for  Charles  I.,  and  finding 
that  the  widow  was  still  living  at  Isleworth,  went  incognito 
to  see  these  paintings.  The  widow  declined  to  sell  them 
until  the  King  had  seen  them,  desiring  that  he  should  have 
the  first  offer,  whereupon  the  monarch  disclosed  his  iden- 
tity, and  purchased  from  Mrs.  Oliver  what  she  had  left, 
giving  her  in  payment  an  annuity  for  life  of  some  £3°0- 
It  is  then  stated  that  on  a  subsequent  occasion  Mrs.  Oliver 
spoke  in  strong  language  respecting  the  King's  gift  of 
certain  of  these  miniatures  to  his  mistresses,  and  the 
information  concerning  her  bold  speech  was  brought  to  the 
notice  of  the  King,  who  thereupon  stopped  the  payment 
of  her  annuity.  This  story  was  told  to  Vertue  by  Antony 
Russel  the  painter,  whose  grandfather,  who  was  jeweller 
to  James  I.,  appears  to  have  been  a  kinsman,  and  whose 
father,  Theodore  Russel,  purchased  from  Mrs.  Peter  Oliver 
such  paintings  as  she  did  not  sell  to  the  King.2  There  is  a 
portrait  of  Mrs.  Oliver  in  existence,  and  a  similar  one  of  the 
painter  himself.  They  are  drawings  in  black  lead,  made 
on  the  two  leaves  of  a  pocket-book,  and  identified  by 
inscriptions.  These  now  rest  in  the  Earl  of  Derby's 
collection. 

1  D.  N.  B.  z  B.  M.,  Add.  MSS.  2iin,49-5oa. 


THE   OLIVERS  43 


The  younger  Oliver  did  not  confine  himself  to  painting 
miniatures.  He  made  a  number  of  copies  in  water-colour 
of  celebrated  pictures  by  the  Old  Masters.  These  were 
prepared,  it  is  stated,  for  Charles  I.  at  his  own  particular 
request,  so  that,  moving  about  the  country,  he  might  have 
with  him  representations  of  the  pictures  to  which  he  was 
sor much  attached.  They  were  enumerated  in  the  catalogue 
of  the  King's  possessions,  but  were  scattered  after  his 
execution.  Six  of  them,  however,  still  remain  in  the 
Royal  possession  at  Windsor  Castle. 

In  regarding  his  work,  we  see  a  still  further  advance  in 
the  art  from  that  of  his  father.  There  is  more  life  in  the 
expression,  and  the  portraits  show  much  greater  knowledge 
of  character.  As  paintings,  Peter  Oliver's  works  are  dis- 
tinctly finer  than  those  of  his  father;  perhaps  in  elaboration, 
in  delicate  finish,  and  in  minuteness  of  execution,  they  do 
not  differ  so  much  from  those  of  the  elder  Oliver,  but  the 
modelling  is  more  firm  and  solid,  the  effect  grander  and  more 
life-like,  and  the  paintings  are  executed  with  a  greater 
breadth  and  ease,  which  was  possibly  the  result  of  the 
artist's  having  copied  so  many  paintings  by  the  older 
masters.  The  Strawberry  Hill  collection,  to  which  allusion 
has  just  been  made,  contained  one  or  two  of  Peter  Oliver's 
finest  works,  notably  the  portraits  of  Sir  Kenelm  and  Lady 
Digby  which  now  belong  to  Mr.  Wingfield-Digby,  and  the 
portrait  of  Sir  Kenelm  Digby  and  his  family,  a  copy  of  a 
group  by  Vandyck,  which  is  in  the  possession  of  Mr. 
Burdett-Coutts.  His  important  miniatures  are  signed 
with  the  conjoined  initials  P.  O.,  and  these  initials  are  to 
be  found,  as  are  those  of  Isaac  Oliver,  as  a  rule,  on  the 
right  of  the  miniature  as  it  faces  the  spectator,  and  low 
down,  fairly  near  to  the  edge  of  the  portrait.  Dated 
miniatures,  recorded  by  Mr.  Goulding  in  his  invaluable 
catalogue  of  the  Welbeck  collection,  belong  to  the  years 
1619,  1620,  1621,  1626,  1628,  1629,  1630,  1633,  1634,  l637, 
1639,  *640  and  1646.  Two  years  afterwards,  the  artist 


44  THE  MINIATURE  COLLECTOR 


PLATE  VIII. 

PETER   OLIVER 
(1601-1660). 

1.  The  Elector  Palatine.     Signed  and  dated. 

2.  Called  a  portrait  of  Sir  Kenelm  Digby,  and  probably  a  member 

of  that  family.     Signed. 

Both  in  the  collection  of  Mrs.  Sotheby. 

3.  George  Villiers,  Duke  of  Buckingham  (1592-1628).     Signed. 

4.  George  Calvert,   Baron  Baltimore  (1580  P-I&32).     Signed. 

Both  in  the  Collection  of  the  Duke  of  Buccleuch  and  Queens- 
berry,  K.T. 


PLATE   VIII 


THE  OLIVERS  45 


was  dead.  There  are  more  miniatures  of  the  year  1621 
than  of  any  other  year.  Two,  representing  the  Queen  of 
Bohemia  and  Charles  I.,  are  at  Windsor  Castle,  two  others, 
both  representing  Frederick  the  Electer  Palatine  of  Bohe- 
mia, are,  one  of  them  in  the  collection  of  Mrs.  Sotheby,  and 
the  other  in  that  of  the  Duke  of  Buccleuch ;  and  another 
portrait  of  Charles  I.  is  in  Amsterdam,  in  the  Rijks  Museum. 
The  paintings  at  Windsor  Castle  are  those  of  the  Marquess 
del  Vasto  and  his  family,  after  Titian,  dated  1629  ;  Jupiter 
and  Antiope,  after  Correggio,  dated  1633 ;  the  Education 
of  Cupid,  after  the  same  master,  1634  '»  the  Lovers,  after 
Titian,  1637  >  and  St.  Luke  and  the  Madonna,  1639,  and  the 
Madonna  and  Child  with  St.  John,  1640.  There  is  also 
a  fine  painting  of  the  Marriage  of  St.  Catherine,  dated 
1639,  m  tne  Pierpont  Morgan  collection,  and  two  good 
examples  of  Peter  Oliver's  work  in  this  copying  of  old 
master  pictures  in  miniature  can  be  seen  in  the  Victoria 
and  Albert  Museum,  while  yet  another  is  in  the  possession 
of  the  Marquess  of  Exeter.  Three  miniatures  by  Oliver 
are  contained  in  the  Welbeck  Abbey  collection. 

As  a  rule,  the  miniatures  painted  by  both  the  Olivers  are 
oval,  but  some  are  heart-shaped,  and  in  a  few  instances 
the  portraits  are  square.  The  background  is  frequently 
formed  by  a  reddish  curtain,  sometimes  by  portions  of  two 
curtains,  one  on  either  side  of  the  sitter.  A  plain  clear 
violet  background  is  also  to  be  found,  and  one  occasionally 
appears  of  dull  grey,  while  the  old  blue  ground,  which  was 
almost  invariably  used  by  Holbein  and  Hilliard,  was  still 
a  very  favourite  colour  in  use  by  the  Olivers.  Just  a  few 
of  his  miniatures  have  a  brown  background,  and  one, 
which  I  saw  some  years  ago  in  the  Emperor's  collection  at 
Petrograd,  had  a  background  which  was  nearly  black. 
The  elder  Oliver  frequently  painted  with  a  landscape  back- 
ground. There  is  a  well-known  portrait  of  Sir  Philip 
Sidney  in  a  garden,  and  there  are  other  miniatures  by  this 
artist,  somewhat  similar  in  character ;  for  example,  a  por- 


46  THE  MINIATURE  COLLECTOR 

trait  of  the  Earl  of  Essex  and  his  wife,  which  was  at  one 
time  at  Castle  Howard,  represented  the  two  seated  in  their 
garden.  The  sons  of  Lord  Montagu  are  depicted  standing 
in  a  panelled  room,  and  Lord  Dorset,  whose  portrait  is  to 
be  seen  at  South  Kensington,  is  shown  seated  at  a  table 
in  his  own  room.  These  varieties  are  mentioned  in  order 
that  it  may  be  seen  how  the  Olivers  began  to  break  away 
from  the  tradition  of  a  simple  portrait  on  a  blue  background. 
One  further  matter  should  be  mentioned,  and  that  is  with 
regard  to  the  painting  of  the  hair.  Both  the  Olivers,  but 
especially  Isaac,  frequently  represented  the  hair  in  the 
portraits  of  women  as  falling  thickly  over  the  shoulders, 
and  the  hair  itself  is  painted  in  soft,  flocculent  masses, 
quite  different  from  the  definitely  outlined  way  in  which 
Holbein  or  Hilliard  painted  it,  and  different  even  from  the 
way  in  which  the  same  two  artists  as  a  rule  treated  the  hair 
of  their  men  sitters.  It  would  look  as  though  the  fine, 
rich  hair  of  a  woman  appealed  very  strongly  to  both 
artists,  and,  desirous  of  presenting  it  gleaming  with  light 
and  shown  in  an  airy,  transparent  manner,  they  altered 
the  accepted  technique,  and  adopted  one  peculiar  to  them- 
selves. This  course  was  not  followed  by  those  who  suc- 
ceeded them,  and  it  was  left  for  the  eighteenth  century, 
and  especially  for  Cosway,  to  treat  the  hair  of  women  in 
portraits  in  somewhat  similar  fashion  to  that  which  a 
couple  of  generations  before  had  been  adopted  by  the 
Olivers,  father  and  son. 


CHAPTER   V 

JOHN   HOSKINS   AND   HIS   SON 


THE  next  two  miniature  painters  to  be  considered 
are  the  father  and  son  who  bore  the  same  name, 
John  Hoskins,  and  in  considering  them,  we  are 
at  once  face  to  face  with  a  difficulty.     It  has  not   been 
accepted  by  all  writers  on  miniature  painting  that  there 
were  these  two  painters  named   Hoskins,  and   it  would 
be  well  to  give  some  space  to  a  brief  consideration  of  the 
arguments  concerning  their  existence. 

William  Sanderson,  in  his  "  Graphice,"  published  in 
1658,  in  a  list  of  artists,  writes  thus  :  "  For  Miniture  or 
Limning  in  water  Colours  Hoskins  and  his  Son  the  next 
modern  since  the  Hilliards,  Father  and  Son  ;  those  Pieces 
of  the  Father  (if  my  judgment  faile  not)  incomparable." 
This  is  reasonably  definite  evidence  of  the  existence  of  two 
men,  both  of  them  painters.  George  Vertue  gives  us  the 
same  information.  In  describing  the  miniature  belonging 
to  Lord  Oxford  in  one  of  his  MSS.,  he  writes  about  it  as 
"  so  well  done  in  drawing  colouring  and  finishing  that  he 
[Flatman]  may  well  deserve  the  Title  of  a  Master  in  the 
Art  of  Limning  and  indeed  equal  to  Hoskins  senior  or 
junior  and  next  in  immitation  of  Samuel  Cooper."  * 
Samuel  Redgrave,  in  his  Catalogue  of  the  Miniatures  at 
South  Kensington  in  1865,2  states  that  the  younger  Hoskins 

1  B.  M.,  Add.  MSS.  23072.74  old  pagination,  and  Welbeck  cata- 
logue, p.  94.  2  Page  293 

47 


48  THE  MINIATURE  COLLECTOR 

painted  a  portrait  of  James  II.  in  1686,  but  he  gives  no 
authority  for  this  statement,  and  therefore  its  accuracy 
cannot  easily  be  checked.  These  are  the  only  three  definite 
statements  concerning  the  existence  of  two  painters  of 
the  same  name  of  which  I  am  aware,  but  the  proof  that  a 
second  John  Hoskins  did  live  is  to  be  found  in  the  will  of 
the  John  Hoskins  who  died  in  the  Febniary  of  1664-5, 
from  which  it  would  appear  that  the  testator  bequeathed 
to  his  son  John  £20  for  a  ring  or  to  be  expended  otherwise 
as  he  should  think  fit. 

I  was  inclined  to  think  at  one  time  that  the  question 
whether  the  younger  Hoskins  was  a  painter  of  miniatures 
had  been  settled  by  the  existence  of  a  portrait  of  James 
Fitzjames,  Duke  of  Berwick,  painted  in  1700,  which  was 
signed  Hoskins.1  I  am  afraid,  however,  that  the  evidence 
is  not  quite  definite,  because  the  costume  of  the  person 
represented  in  the  miniature,  who  certainly  does  resemble 
other  portraits  of  the  Duke  of  Berwick,  although  not  very 
closely,  hardly  coincides  with  the  period  of  1700,  and 
is  much  more  like  that  of  the  period  which  lasted  from 
1660  up  to  1670.  The  inscription  on  this  particular 
miniature  must  not,  however,  be  hurriedly  cast  aside, 
for  the  arms  on  the  portrait  are  undoubtedly  those  of  the 
Duke  of  Berwick.  The  inscription  also  appears  wholly 
original,  and  to  have  been  executed  at  the  same  time  as 
the  arms,  and  the  Duke  of  Berwick  would  have  been,  as 
it  states,  twenty-nine  in  1700.  If  it  is  to  be  accepted  as 
proving  the  existence  of  the  younger  Hoskins,  this  implies 
that  he  was  living  in  1700,  an  even  later  date  than  that 
mentioned  by  Redgrave.  At  present  no  one  has  been  able 
to  find  the  will  of  this  second  John  Hoskins,  nor  any  proof 
of  when  his  death  took  place.  The  elder  Hoskins,  we  know, 
died  in  February,  1664-5,  and  he  is  expressly  termed  "  the 
limner,"  but  although,  as  we  have  seen,  he  mentioned  his 

1  Morgan  catalogue  I.  p.  86. 


JOHN  HOSKINS  AND  HIS  SON  49 

son  in  his  will,  he  does  not  say  that  he  was  following  the 
same  profession,  and  we  have  no  clear  proof  at  present  that 
the  younger  Hoskins  was  a  miniaturist,  beyond  the  state- 
ments made  by  Sanderson  and  Vertue,  to  which  allusion 
has  just  been  made.  I  think,  however,  that  it  ought  to 
be  taken  for  granted  that  Sanderson  was  speaking  of  what 
he  knew,  and  Vertue  was  a  reliable  observer,  who  was  not 
in  the  habit  of  making  statements  which  cannot  be  veri- 
fied. I  believe,  therefore,  definitely,  not  merely  in  the 
existence  of  a  younger  Hoskins,  but  in  the  fact  that  he  was 
a  miniature  painter,  and  this  regardless  of  the  doubt 
thrown  upon  his  existence  by  some  other  writers,  notably 
by  Mr.  J.  J.  Foster  in  his  book  on  Samuel  Cooper. 

In  considering  the  separate  existence  of  the  two  men,  I 
am  disposed  to  think  that  the  opponents  of  the  theory 
that  both  were  miniature  painters,  have  ignored  the 
evidence  of  Sanderson,  which  is  very  definite  and  is  also 
contemporary. 

There  is  one  more  piece  of  evidence  that  ought  perhaps  to 
be  mentioned.  Several  of  the  miniatures  in  Lord  Dysart's 
collection  at  Ham  House  have  inscriptions  written  on  the 
back  of  them  which  speak  of  the  artist  as  "  Old  Hcskins." 
One,  and  one  only,  has  a  similar  inscription,  which  refers 
to  "  Young  Hoskins."  Some  of  these  inscriptions  are,  in 
my  opinion,  contemporary,  others  perhaps  are  not  so. 
They  have  been  compared  with  the  writing  of  various 
members  of  the  owner's  family,  and  they  do  not  resemble  it. 
The  owner  himself  regards  them  as  very  early  inscriptions, 
and  says  that  they  have  nothing  whatever  to  do  with  his 
family,  so  far  as  he  knows.  They  do  not  carry  us  very 
far,  but  they  do  imply  the  existence  of  two  painters  of 
the  same  name,  who  were,  when  these  inscriptions  were 
written,  currently  known  as  "  Old  Hoskins  "  and  "  Young 
Hoskins." 

It  has  also  been  stated  that  Young  Hoskins  painted  a 
portrait  of  Sir  Edmund  Berry  Godfrey.  That  portrait, 


50  THE  MINIATURE   COLLECTOR 


PLATE  IX. 

JOHN    HOSKINS 
(one  died  in  1665). 

1.  Sir  Benjamin  Rudyard.     Signed  and  dated  1664. 

In  the  Collection  of  Mrs.  Sotheby. 

2.  Charles  I  (1600-1649).     Set  with  a  companion  portrait  of  Queen 

Henrietta  Maria  in  a  fine  enamel  case  by  Toutin. 
In  the  Collection  of  Mr.  J.  Pierpont  Morgan. 

3.  Sir  John  Maynard   (1602-1690). 

In  the  Collection  of  Mr.  J.  Pierpont  Morgan. 


PLATE  IX 


JOHN  HOSKINS  AND  HIS   SON  51 

which  is  in  the  collection  of  Mrs.  Sotheby,  is  dated  1663. 
It  does  not  resemble,  in  its  technique,  the  work  of  the 
miniatures  which  were  undoubtedly  painted  by  the  elder 
Hoskins  in  the  period  extending  from  1630  down  to  1650, 
and  it  seems  almost  certain  that  it  was  painted  by  another 
artist  of  the  same  name  ;  if  so,  there  is  but  little  doubt  that 
the  artist  was  the  younger  Hoskins. 

As  to  whether  we  can  distinguish  the  works  of  the  father 
from  those  of  the  son  by  the  difference  in  the  signature  is 
quite  another  matter.  Vertue  says  that  the  father  signed 
his  name  in  monogram,  and  that  the  initials  of  I.  H.,  stand- 
ing separately  with  several  curious  variations,  were  those 
of  the  son.  On  the  whole,  I  think  Vertue  was  right.  Most 
of  the  miniatures  that  are  signed  with  the  joint  initials 
are  certainly  earlier,  as  Mr.  Goulding  l  has  pointed  out, 
in  point  of  date,  than  those  bearing  the  signature  J.  H. 
Just  a  few,  as  he  says,  are  contemporary  with  the  early 
specimens  marked  I.  H.,  and  he  adds  that,  with  the  excep- 
tion of  two  miniatures  painted  in  oil,  he  had  seen  none 
signed  with  the  monogram  which  belong  to  a  period  later 
than  1630-40.  The  implication,  therefore,  is,  that  the 
elder  Hoskins  signed  with  the  conjoined  initials,  and  the 
younger  with  the  initials  separately,  and  not  conjoined, 
or  conjoined  in  a  different  fashion,  not  forming  a  mono- 
gram. The  father's  monogram  is  the  H.  with  the  I. 
run  right  through  it. 

Of  the  life  of  Hoskins  himself,  we  know  practically  no- 
thing. All  we  can  say  is  that  he  was  the  uncle  of  Alexander 
and  of  Samuel  Cooper,  who  were  his  pupils,  that  he  made 
two  drawings  for  the  Great  Seal  of  Charles  I.  which  were 
preserved  in  the  Royal  collection,  that  he  died  in  February, 
1664/5,  and  was  buried  in  St.  Paul's  Church,  Co  vent  Garden. 
The  only  two  contemporary  allusions  to  his  actual  work 
that  Mr.  Goulding  in  his  researches  was  able  to  find  are, 

1  Welbeck  catalogue,  p.  37. 


52  THE    MINIATURE   COLLECTOR 

first,  one  which  appears  in  the  account  book  of  John  Holies, 
the  first  Earl  of  Clare,  which  is  preserved  at  Welbeck 
Abbey.  In  this  it  is  stated  that  Lord  Clare  paid  £14  "  to 
Hoskins  ye  picture-drawer  for  2.  pictures  in  little." 
The  other  is  a  similar  reference  which  is  to  be  found  in 
the  Duke  of  Rutland's  papers  respecting  the  payment  of  £15 
in  1658  to  Hoskins  for  a  portrait  of  Lord  Roos.1 

It  has  even  been  suggested  that  there  may  have  been 
three  men  bearing  the  name  of  John  Hoskins,  two  of  whom 
were  limners.  Mr.  Kennedy  points  out  that  we  know, 
from  an  entry  in  Pepys'  Diary,  that  "Mr.  Cooper's  cosen 
Jacke  "  Hoskins  was  alive  in  1668,  and  it  is  probable  that 
he  was  still  living  in  1672,  as  he  is  mentioned  in  Cooper's 
will,  which  was  proved  in  the  July  of  that  year.  We  know 
of  no  example  of  Hoskins'  work  later  than  1663,  and  if  the 
"  cosen  Jacke  "  was  the  artist  who  signed  I.  H.,  it  is  curious 
that  there  should  be  nothing  in  existence  signed  later 
than  1663.  On  the  other  hand,  if  it  was  "  cosen  Jacke's  " 
father  who  died  in  1664-5, we  have  to  imagine  the  existence 
of  a  grandfather  who  painted  miniatures.  Two  of  the 
miniatures  in  the  Duke  of  Buccleuch's  collection  appear 
to  give  us  portraits  of  a  John  Hoskins  the  elder  and  a  John 
Hoskins  the  younger.  One,  which  is  called  a  self  portrait 
of  the  artist,  was  engraved  in  1802,  as  a  portrait  of  John 
Hoskins  the  elder,  and  has  at  the  back  of  it  another  repre- 
sentation of  the  same  person  as  the  central  figure  of  a 
group  with  his  wife  and  four  children,  perhaps  representing 
the  whole  Hoskins  family.  The  other,  generally  called  a 
portrait  of  a  man  unknown,  has  the  work  "  IPSE  "  in 
gold  letters  under  the  signature  and  date  1656,  and  this 
may  surely  be  accepted  as  a  self-portrait  of  the  younger 
Hoskins. 

I  do  not  pretend  to  be  able  to  distinguish  with  any 
certain  degree  of  accuracy  between  the  work  of  the  two 

1  Hist.  MSS.  Com.  Duke  of  Rutland's  MSS.,  Belvoir  Castle,  Vol. 
iv.  540. 


JOHN  HOSKINS  AND  HIS  SON  53 

men.  I  am  convinced  in  my  own  mind  that  there  were 
two  (even  if  not  three),  and  in  all  probability  their  work 
could  be  distinguished  by  their  signatures,  but  one  special 
difficulty  is  in  the  way.  The  examples  signed  I.  H.  in 
monogram  are  hardly  any  of  them  dated.  The  examples 
signed  H.  the  first  stroke  of  which  is  surmounted  by  a  dot, 
are  also  hardly  any  of  them  dated ;  in  fact,  I  only  know  of 
two,  one  dated  1638,  and  one  1644,  but  of  those  signed 
J.  H.  with  two  separate  letters,  there  are  a  long  series  of 
dated  miniatures,  beginning  with  1632  and  ending  with 
1663.  In  all  probability,  many  of  these  were  the  work  of 
the  younger  man,  but  at  present  we  have  no  proof  of  it. 
Probably  the  portrait  of  Lord  Roos  painted  in  1658  was 
by  the  younger  Hoskins.  The  monograms,  whichever 
form  they  assume,  are  not  very  easy  at  times  to  identify, 
as  they  are  often  painted  in  black  on  the  darker  part  of 
the  background,  and  the  miniature  has  to  be  held  sideways, 
so  that  the  light  may  reveal  the  letters,  which  are  fre- 
quently on  the  left  of  the  miniature,  facing  the  spectator, 
and  not  on  the  right,  as  the  initials  of  the  Olivers  were 
usually  placed.  Sometimes  they  are  placed  so  exceedingly 
close  to  the  edge  of  the  portrait  that  they  are  partially 
obscured  by  the  frame,  and  in  such  instances,  it  is  desirable 
that  the  miniature  should  be  unframed,  and  the  signature, 
in  whatever  form  it  is,  will  be  exposed. 

Richard  Graham,  in  his  appendix  to  the  "  Art  of  Paint- 
ing," 1695,  tells  us  that  Hoskins  "  was  bred  a  face  painter 
in  oil,  but  afterwards  taking  to  miniature,  far  exceeded 
what  he  did  before."  As  to  his  work,  it  is  certainly  of 
very  high  merit.  His  colour  scheme  is  more  quiet  and 
sober  than  that  of  his  predecessors,  and  his  miniatures,  as 
a  rule,  are  simple  and  dignified ;  sometimes  they  may  almost 
be  termed  magnificent,  they  are  so  broad  in  their  execution, 
and  so  powerful.  Simplicity  and  dignity  in  fact  are  the 
keynotes  in  Hoskins'  work.  His  colouring  is  sometimes  a 
little  crude,  but  on  the  whole  quiet  and  sober,  while 


54  THE  MINIATURE  COLLECTOR 

the  presentation  of  character  is  true,  and  invariably 
serious.  In  flesh  tints,  he  favoured  a  peculiarly  ruddy, 
rather  brick-dust  hue,  which  has  at  times  become 
brown  by  the  effect  of  light.  His  backgrounds  are  cloudy, 
or  with  foliage,  or  else  of  a  peculiarly  blue  mottled  effect, 
sometimes,  but  very  rarely,  with  a  curtain.  There  is  no 
such  thing,  so  far  as  I  have  ever  seen  it,  as  a  smiling 
Hoskins,  but  many  of  his  portraits  may  be  termed 
pathetic,  notably  one  belonging  to  Lord  Exeter,  of  Charles 
II.  as  a  boy.  His  faces  are  almost  always  thoughtful,  those 
of  women  demure  and  quiet,  those  of  men,  serious,  as 
befitted  the  times  in  which  the  artist  lived.  The  largest 
miniature  which  Hoskins  ever  painted,  perhaps  one  of 
his  finest  (by  some  critics  it  has  been  claimed  as  his  very 
finest),  is  a  portrait  of  Catherine  Bruce,  Countess  of  Dysart, 
painted  in  1638.  It  is  rectangular,  and  enclosed  in  the 
original  box  or  casket  in  which  it  was  first  put.  Whether 
the  artist  was  peculiarly  proud  of  this  fine  miniature,  and 
thought  it  the  best  work  he  had  ever  executed,  we  cannot 
tell,  but  he  signed  it  in  a  way  in  which,  so  far  as  my  pre- 
sent information  goes,  he  signed  no  other  miniature, 
putting  his  name  as  "  Hoskin  "  and  elongating  the  first 
stroke  of  the  "  H  "  into  a  "  J,"  so  as  to  form  a  kind  of 
monogram. 

Other  fine  examples  of  his  work  exist  in  the  collections 
of  the  Duke  of  Buccleuch,  the  Duke  of  Rutland,  in  the  Royal 
collection  and  in  those  of  the  Duke  of  Devonshire,  Mr. 
Pierpont  Morgan  and  Mrs.  Sotheby.  Among  the  treasures 
of  the  Pierpont  Morgan  collection  are  the  portraits  of 
Charles  I.  and  Queen  Henrietta  Maria,  painted  by  Hoskins, 
set  in  a  wonderful  enamelled  case  by  Toutin.1  The  case 
is  of  peculiar  interest,  because  the  very  etching  for  it  is 
known  still  to  exist.  Another  is  a  delightful  portrait 
of  Queen  Henrietta  Maria,  in  a  contemporary  frame,  of  a 

1  Morgan  catalogue,  I.  p.  83. 


JOHN  HOSKINS  AND  HIS  SON  55 

very  unusual  shape,  oval,  divided  into  curved  segments, 
the  lines  of  which  are  closely  followed  by  the  bevelled  glass 
in  the  frame,  which  is  probably  the  original  glass  for  the 
portrait.1  The  only  other  large  miniature  by  Hoskins 
which  is  in  any  way  comparable  with  the  one  at  Ham  House 
is  another  portrait  of  this  same  Queen,  a  large  oval  one  at 
the  Rijks  Museum  in  Amsterdam. 

Just  occasionally,  Hoskins  varied  his  quiet,  solemn 
scheme  of  colour  for  something  a  little  brighter.  Mr. 
Morgan  has  in  his  collection  a  portrait  of  Sir  Charles  Lucas, 2 
signed  by  Hoskins  with  two  separate  initials  and  dated 
1645,  in  which,  across  the  white  costume,  has  been  thrown 
a  rich  crimson  and  gold  scarf,  with  a  very  brilliant  effect. 
This  also  is  contained  in  its  original  frame,  an  enamelled 
locket,  probably  made  as  a  memorial  of  Lucas  for  some 
member  of  his  family,  and  having  a  representation  of  a  man 
and  woman  standing  near  to  their  tombs,  and  crowned 
with  a  crown  of  martyrdom  by  an  angel  who  is  shown 
descending  from  the  sky. 

A  portrait  a  little  larger  than  usual  is  also  one  of  the 
treasures  of  the  Pierpont  Morgan  collection,  and  represents 
Moll  Davis,8  whom  Pepys  declared  to  be  a  bastard  daugh- 
ter of  Thomas  Howard,  Earl  of  Berkshire,  and  whom  he 
pronounces  "the  most  impertinent  slut  in  the  world." 
Before  she  attracted  the  attention  of  King  Charles  II. 
she  used  to  perform  in  various  plays,  and  was  particularly 
celebrated  for  singing,  with  much  feeling,  the  new  song 
"  My  lodging  is  on  the  cold,  cold  ground."  The  title  of 
this  song  gave  point  to  many  of  the  witty  remarks  that 
were  made  respecting  her  later  life.  She  was  the  woman 
whom  Nell  Gwynn  so  hated,  and  on  one  occasion  when 
they  were  supping  with  the  King,  Nell  mixed  a  quantity 
of  jalap  with  the  sweetmeats  which  Moll  Davis  was  eating, 
and  by  this  means  is  said  to  have  produced*  a  revulsion 

1  Morgan  catalogue,  I.  p.  84.      a  Ibidem,  p.  82.     8  Ibidem,  p.  81. 


56  THE  MINIATURE  COLLECTOR 


PLATE  X. 


JOHN 

(one  died  in  1665). 

1.  Queen  Henrietta  Maria  (1609-1669). 

In  the  Collection  of  Mr.  J.  Pierpont  Morgan. 

2.  Called  Rachel  de  Ruvigny,  Countess  of  Southampton  (1603- 

1639-40).     Signed  and  dated    1648. 

In  the  Collection  of  the  Duke  of  Buccleuch  and  Queensberry, 
K.T. 


PLATE  X 


JOHN  HOSKINS  AND  HIS  SON  57 

of  feeling  on  the  part  of  the  King,  which  was  the  imme- 
diate cause  of  her  loss  of  royal  favour.  She  was  the  mother 
of  Lady  Mary  Tudor,  who  afterwards  became  the  Countess 
of  Derwentwater.  She  was  not  a  beautiful  creature,  to 
judge,  at  least,  from  the  big  miniature  which  Hoskins 
painted  of  her,  representing  her  in  a  bright  blue  costume 
turned  up  with  yellow,  and  with  auburn  hair.  In  this 
particular  case,  the  background  is  formed  by  greenish  blue 
curtains,  but  a  patch  of  the  blue  light  that  Hoskins  so 
much  loved  can  be  seen  in  the  background. 

As  an  example  of  Hoskins'  more  dignified  work,  the  por- 
trait of  Sir  John  Maynard *  in  the  same  collection  may  well 
be  referred  to.  Here  we  get  in  the  background  the  land- 
scape with  a  tree,  which  Hoskins  was  almost  the  earliest 
painter  to  introduce,  not  quite  the  first  of  course,  because 
Oliver  introduced  a  garden,  but  a  little  patch  of  landscape 
with  a  single  tree  was  really  the  idea  of  Hoskins,  and  was 
a  very  favourite  scheme  in  his  work. 

There  are  two  examples  of  Hoskins'  work  to  be  seen  at 
the  Victoria  and  Albert  Museum,  one  signed  with  the 
monogram,  the  portrait  of  a  gentleman,  name  unknown, 
and  another,  which  is  not  quite  in  its  original  condition, 
and  represents  Mary  Sidney,  Countess  of  Pembroke.  This 
latter  forms  part  of  the  Jones  bequest.  There  is  one  portrait 
by  him  of  Viscount  Conway,  dated  1653,  in  the  Wallace 
collection,  but  the  majority  of  his  miniatures  are  in  private 
hands,  and  contained  in  the  collections  already  mentioned. 

Particular  care  in  purchasing  miniatures  by  Hoskins 
must  be  taken  to  see  that  they  have  not  been  touched  up. 
There  is  hardly  any  miniature  painter's  work  amongst  the 
earlier  painters  whose  portraits  are  easier  to  touch  up  than 
are  those  of  Hoskins,  and  very  often  the  blue,  especially 
of  costume,  or  sky,  or  gown,  has  been  altered  or  repainted. 
This,  it  will  readily  be  recognised,  means  a  grievous  deteri- 
oration in  the  value  of  the  portrait. 

1  Morgan  catalogue,  I.  p.  79. 


CHAPTER   VI 

SAMUEL  COOPER 


SAMUEL  COOPER  was  the  most  important  painter 
of  miniatures  in  the  English  School,  indeed  I  may 
almost  call  him  the  greatest  painter  of  miniatures 
who  has  ever  lived.  I  think  in  taking  this  view,  I  should 
be  supported  by  most  of  the  authorities  on  the  subject ; 
almost  all  unite  in  considering  the  works  of  Cooper  the  most 
notable  miniature  portraits  that  have  ever  been  executed. 
Of  the  life  of  the  man  himself,  we  have  not  very  much 
information.  He  was  born  in  London  in  1609,  an(i  trained, 
with  his  brother  Alexander,  by  their  uncle,  John  Hoskins, 
who  is  declared  to  have  become  jealous  of  him,  as  very 
speedily  he  surpassed  his  master  in  skill.  Aubrey,  in  his 
"  Lives  of  Eminent  Men,"  calls  Samuel  Cooper  "  the  prince 
of  limners,"  and  says  that  he  "  drew  his  pictures  as  like 
as  art  could  afford,"  and  goes  on  to  add  of  a  portrait  of 
Thomas  Hobbes  that  it  was  "  one  of  the  best  pieces  that 
ever  he  did  which  His  Majesty  at  his  return  bought  of  him, 
and  conserves  as  one  of  his  greatest  rarities  in  his  closet 
at  Whitehall." 

Graham,  in  his  "  Short  Account  of  the  Most  Eminent 
Painters,"  goes  still  further,  adding  that  Cooper  was 
"  equal  to  the  most  famous  Italians,"  and  adds  that 
"  hardly  any  one  of  his  predecessors  has  ever  been  able  to 
show  so  much  perfection  in  so  narrow  a  compass."  He 
gives  us  the  additional  information  that  Cooper  was  a 

58 


SAMUEL  COOPER  59 

musician,  saying  that  "  answerable  to  his  abilities  in  this 
art  was  his  skill  in  Music,  and  he  was  reckon 'd  one  of  the 
best  lutenists,  as  well  as  the  most  excellent  limner  in  his 
time." 

John  Evelyn,  in  his  Diary,  has  an  interesting  allusion  to 
Cooper,  whom  he  calls  "  ye  rare  limner."  He  tells  us  that 
Cooper  was  called  to  make  the  drawing  of  the  King's  face 
and  head  from  which  the  designs  for  the  new  coinage  were 
to  be  made  and  that  he  had  the  honour  to  hold  the  candle 
while  Cooper  was  preparing  the  crayon  drawing,  "  he 
(Cooper)  choosing  the  night  and  candlelight  for  the  better 
finding  out  the  shadows." 

It  is  from  Pepys,1  however,  that  we  obtain  the  most 
important  references  to  Cooper,  although,  unfortunately, 
the  portrait  he  is  declared  to  have  painted  for  the  diarist 
of  Mrs.  Pepys  cannot  now  be  identified.  As  recently  as  in 
September,  1850,  it  is  stated  to  have  been  in  existence, 
but  what  has  become  of  it  since  that  date,  no  one  seems  to 
know.  Pepys  tells  us  that  he  called  on  Cooper  on  July  ist, 
1668,  "  to  know  when  my  wife  shall  come  and  sit  for  her 
picture,"  and  he  goes  on  to  tell  us  that  on  the  6th  of  the 
same  month  she  gave  her  first  sitting  to  the  artist,  Pepys 
himself,  W.  Hewer  and  Deb,  Mrs.  Pepys'  maid,  being  present 
on  that  occasion.  He  then  speaks  of  Cooper  as  "  a  most 
admirable  workman  and  good  company."  A  couple  of 
days  later,  Pepys  is  again  to  be  found  at  Cooper's  studio 
in  Henrietta  Street  "  with  my  wife  to  Cooper's  and  thus 
saw  her  sit  and  he  do  do  extraordinary  things  indeed." 
Two  days  later,  the  portrait  was  nearly  completed,  and  he 
makes  the  following  entry :  "  To  Cooper's,  and  there  find 
my  wife  and  W.  Hewer  and  Deb  sitting  and  painting,  and 
here  he  do  work  finely,  though  I  fear  it  will  not  be  so  like 
as  I  expected."  Three  days  more  passed,  and  by  that  time 
the  portrait  has  become  much  more  like  the  sitter.  Pepys 

1  Wheatley's  edit,  viii.,  pp.  55,  56,  59,  62,  63,  64,  65  and  78. 


60  THE  MINIATURE  COLLECTOR 

was  more  pleased  and  thus  writes :  "  July  13  to  Cooper's 
and  spent  the  afternoon  with  them  ;  and  it  will  be  an  excel- 
lent picture,"  and  then  finally  on  August  loth,  he  makes 
this  entry  in  his  diary :  "  To  Cooper's,  where  I  spent  all 
the  afternoon  with  my  wife  and  girl,  seeing  him  make  an 
end  of  her  picture,  which  he  did  to  my  great  content,  though 
not  so  great  as  I  confess,  I  expected,  being  not  satisfied  in 
the  greatness  of  the  resemblance,  nor  in  the  blue  garment, 
but  it  is  most  certainly  a  most  rare  piece  of  work  as  to  the 
painting.  He  hath  £30  for  his  work — and  the  chrystal 
and  case  and  gold  case  comes  to  £8  35.  qd.  and  which  I 
sent  him  this  night,  that  I  might  be  out  of  his  debt."  x 

The  other  reference  that  Pepys  makes  to  Cooper  em- 
phasises the  statement  Graham  had  given  us  as  to  the 
artist's  capabilities  in  music.  "  Now  I  understand," 
writes  Pepys,  "  his  great  skill  in  musick  his  playing  and 
setting  to  the  French  lute  most  excellently  and  he  speaks 
French,  and  indeed  is  a  most  excellent  man."2  The 
allusion  to  his  knowledge  of  the  French  language  bears 
out  the  statement  Walpole  makes  in  which  he  tells  us  that 
Cooper  lived  long  in  France  and  Holland.  It  is,  however, 
somewhat  curious  that,  if  this  was  the  case,  we  know  so 
very  little  of  the  miniatures  painted  by  Cooper  on  the 
Continent,  and  few  examples  of  his  work  are  to  be  found  in 
foreign  collections,  with  the  exception  of  those  belonging 
to  the  Queen  of  Holland,  the  Rijks  Museum  at  Amster- 
dam, and  an  important  private  collection  in  Sweden. 
On  the  other  hand  portraits  by  him  abound  in  all 
the  chief  English  collections,  and  the  majority  of  the  por- 
traits which  bear  his  signature  are  those  of  Englishmen  or 
Englishwomen. 

It  is  well  known  that  it  was  Cooper  who  painted  the  most 
notable  portrait  of  Oliver  Cromwell,  and  the  story  has 
often  been  repeated  how  the  Protector  caught  Cooper 

1  Wheatley's  edit.  viii.  p.  78.      2  Ibidem,  p.  64. 


SAMUEL  COOPER  61 

making  a  copy  for  himself  of  the  portrait  and  took  it  away 
from  him.  The  original  drawing  is  said  to  be  the  one 
in  the  possession  of  the  Duke  of  Devonshire,  and  the  copy, 
that  which  is  now  in  the  collection  of  the  Duke  of  Buc- 
cleuch.  It  is  to  one  of  these  portraits  that  Walpole  refers 
in  the  oft-quoted  passage  in  which  he  says  that  "  if  a  glass 
could  expand  Cooper's  pictures  to  the  size  of  Vandyck's, 
they  would  appear  to  have  been  painted  for  that  propor- 
tion." This  passage  appears  in  a  lengthy  account  of  Cooper's 
works  which  Walpole  gives  in  his  "  Anecdotes  of  Painting  " 
when  he  states  that  the  miniaturist  owes  a  great  part  of 
his  merit  to  his  careful  study  of  the  works  of  Vandyck, 
"  but  yet,"  says  he,  "  may  be  called  an  original  genius  as 
he  was  the  first  who  gave  the  strength  and  freedom  of  oil 
to  miniature."  "  Cooper's  miniatures,"  he  says  again, 
"  are  so  bold  that  they  seem  perfect  nature,  only  of  a  less 
standard."  1 

There  is  unfortunately  very  little  to  add  in  the  way  of 
information  concerning  Cooper's  life.  We  know  that  he 
lived  in  Henrietta  street,  Covent  Garden,  then  a  fashion- 
able part  of  London.  We  know  also  that  he  had  flattering 
verses  addressed  to  him  by  a  certain  Mrs.  Katherine 
Philips  (1631-1664),  a  writer  of  verses,  known  in  her  day 
as  the  "  matchless  Orinda,"  and  actually  spoken  of  as  the 
greatest  poetess  of  which  England  could  boast,  and  there 
are  various  other  allusions  to  him,  praising  his  work,  in 
writings  of  the  day.  Of  his  actual  career,  however,  we 
have  very  little  knowledge  at  all,  until  the  close  of  his  life, 
and  then  the  Duke  of  Rutland's  papers  at  Belvoir  reveal 
to  us  some  facts  about  his  last  illness.  In  January,  1672, 
he  had  painted  a  portrait  of  John  Cecil,  fourth  Earl  of 
Exeter,  and  a  desire  had  been  expressed  by  Lord  Exeter 
that  he  should  execute  a  companion  miniature  of  his  wife. 


1  Walpole's  "  Anecdotes,"  Dallaway  edition,  II.  145. 


62  THE  MINIATURE  COLLECTOR 


PLATE  XI. 

SAMUEL    COOPER 
(1609-1672). 

1.  John.  Earl  of  Loudoun  (1598-1662). 

2.  James,  Duke  of  Monmouth    (1649-1685). 

Both  ia  the  Collection  of  Mr.  J.  Pierpont  Morgan. 


PL  ATP:  xi 


SAMUEL  COOPER  63 

This  was  never  completed,  however,  and  we  learn  the  fact 
from  two  letters.  On  April  gth,  1672,  Mr.  Charles  Manners 
wrote  a  letter  to  Lord  Roos,  in  which  the  following  words 
appear :  "I  will  hasten  on  Mr.  Cooper  all  I  can  to  the 
finishing  of  my  Lady  Exester's  picture,  and  hee  will  surely 
doe  it,  God  willing,  but  at  the  present  the  King  and  the 
Duke  have  put  severall  things  into  his  hands,  which  take 
him  off  from  all  else."  Probably,  however,  many  of  these 
several  things  were  never  executed  by  Cooper,  for  in  a  little 
more  than  a  month,  actually  on  May  4th  in  the  same  year, 
Mr.  Manners  wrote  again  to  Lord  Roos,  and  in  that  letter 
says,  "  It  hath  bin  impossible  for  mee  to  sende  my  Lady 
Exester's  picture  though  Mr.  Cooper  promised  with  all 
imaginable  respect  and  kindeness  to  finish  it  out  of  hand, 
and  actually  began  it,  but  just  then  fell  dangerously  sicke, 
and  was  confyned  to  his  bed,  and  I  very  much  feare  hee 
cannot  possibly  outlive  3  days.  If  hee  should  live,  your 
Lordship  shall  have  it  surely  exactly  compleated,  if  hee 
dye  I  shall  redemaunde  that  which  was  put  into  his  hands, 
and  sende  it  to  your  Lordship."  *  As  a  matter  of  fact, 
however,  we  know,  from  Mary  Beale's  diary,  that  Cooper 
died  the  very  day  after  this  letter  was  written,  as  she 
writes  on  Sunday,  May  5th,  1672,  "  Dyed  this  day  Mr. 
Samuel  Cooper,  the  most  famous  limner  of  the  world  for 
a  face,"  and  therefore  the  miniature  of  Lady  Exeter  was 
never  completed,  and  there  is  no  evidence  to  show  that 
even  the  sketch  commenced  by  the  artist  ever  came  into 
Lord  Exeter's  hands. 

He  had  been  appointed  limner  to  Charles  II.,  and  the 
Exchequer  accounts  speak  of  the  office  he  held  and  of  the 
stipend  he  received  from  it.2  On  his  decease  we  learn  that 
the  King  was  graciously  inclined  to  grant  Mrs.  Cooper 
£200  per  annum  for  her  life,  she,  it  is  said,  having  agreed 

1  Morgan  catalogue,  I.  No.  in,  with  facsimiles  of  both  letters. 
1  Exchequer  Accounts,  K.  R.  Bundle,  441,  10  and  u. 


64  THE  MINIATURE  COLLECTOR 


PLATE  XII. 

SAMUEL   COOPER 
(1609-1672). 

1.  Christiana,  wife  of  Samuel  Cooper  (ob.  1693.     ^Ex.  70). 

2.  Sir    Frescheville    'Holies    (1641-1672).      By    Samuel    Cooper. 

Signed  and  dated  1669. 

Both  in  the  Collection  of  the  Duke  of  Portland,  K.G. 


PLATE  XII 


SAMUEL  COOPER  65 

to  deliver  into  his  hands  several  pictures  or  pieces  of  her 
husband's  limning  of  a  very  considerable  value.1 

This  Mrs.  Cooper,  the  painter's  wife,  was  Christiana, 
daughter  of  William  Turner  of  York,  and  her  sister  Edith 
was  the  mother  of  Alexander  Pope  the  poet.  According 
to  a  document  that  for  a  long  time  was  preserved  in  the 
Pope  family,  Mrs.  Cooper  is  said  to  have  handed  over  to  her 
sister  many  sketch-books  belonging  to  her  husband,  to- 
gether with  his  colour  boxes  and  colours,  and  some  cups 
"  of  precious  agate  "  in  which  he  compounded  his  pigments, 
and  there  is  still  a  tradition  in  the  Pope  family  that  all 
these  treasures  have  been  preserved  by  some  member  of  that 
family,  and  were  deposited  for  greater  security  at  a  bank, 
where  it  is  said  they  still  exist.  Alexander  Pope  the  linen 
draper,  who  married  Mrs.  Cooper's  sister,  was  a  man  of 
substantial  means,  and  is  said  to  have  been  greatly  inter- 
ested in  his  wife's  artist  brother,  and  to  have  highly  valued 
the  drawings  he  received,  stating  that  in  his  opinion  they 
were  of  considerable  importance  and  were  to  be  kept  in  the 
family.  Hence  it  is  the  tradition  remains  that  they  have 
been  so  retained,  and  it  seems  possible  to  hope  that  some 
day  or  other  these  treasures  of  inestimable  importance  in 
connection  with  the  art  of  miniature  painting  may  yet  be 
discovered.  Pope  is  stated  to  have  erected  the  monu- 
ment in  Old  St.  Pancras  Church  to  the  memory  of  Cooper 
and  of  his  wife.  It  was  at  Cooper's  own  wish  that  he  was 
buried  in  St.  Pancras  Church,  although  he  was  living  in 
the  parish  of  St.  Paul's,  Co  vent  Garden. 

Mr.  Foster,  in  his  work  on  this  artist,  tells  us  that 
Cooper's  will  was  proved  on  July  4th,  1672,  and  that  by 
it  he  appointed  his  "  dearly  loved  wife  "  sole  executrix. 
He  left  to  various  members  of  the  Hayles  family  205.  each 
for  a  ring,  and  similar  sums  to  his  "  cozon  John  Hoskins  " 
and  to  his  wife  and  daughter,  and  also  to  his  "  cozon 

1  Shaw's  Calendar  of  Treasury  Books,  1672-5,  p.  180. 

F 


66  THE  MINIATURE  COLLECTOR 

Francis  Hoskins  "  and  to  his  wife  Mary.  Mr.  Foster  also 
tells  us  that  Cooper  was  possessed  of  various  lands  in  or 
near  Coventry  which  he  bequeathed  to  Mrs.  Cooper. 

On  the  monument  to  his  memory  which  is  still  to  be 
seen,  there  is  a  long  Latin  inscription,  in  which  he  is  termed 
the  Apelles  of  England,  the  glory  of  his  age  and  of  his  art, 
a  consummate  artist  in  miniature,  and  a  man  who  possessed 
eminent  mental  endowments,  exquisite  genius,  skill  in 
many  languages,  and  manners  that  were  most  charming. I 
We  know  something  of  his  appearance,  as  a  miniature  in 
the  Victoria  and  Albert  Museum  signed  by  him  "  S.  C." 
and  dated  1657,  is  stated  to  be  his  portrait.  There  is  also 
a  crayon  portrait  certainly  representing  Cooper,  which  was 
originally  in  the  possession  of  Mr.  Graham,  a  collector, 
and  this  was  copied  by  Lens.  The  miniature  is  hi  the 
collection  of  the  Duke  of  Portland,  at  Welbeck,  and  on  the 
label  Lens  has  written  the  following  words :  "  Samuel  Cooper, 
a  Famous  Performer  in  Miniature  stil'd  Van  Dyck  in  little, 
he  Died  in  London  in  ye  year  1672,  63  year  of  his  Age. 
Bernard  Lens  fecit."  Another  copy,  on  ivory,  by  Lens,  of 
this  same  portrait  is  in  the  collection  of  the  Marquess  of 
Bristol  at  Ickworth,  and  on  the  back  of  that  Lens  has  added 
that  Cooper  has  "  far  exceeded  all  that  went  before  him 
in  England  in  that  way,  and  been  equell  the  most  Famous 
Italians,"  together  with  the  further  information  that  the 
copy  was  done  "  from  ye  Originall  in  Creons  by  himself 
in  ye  collection  of  Mr.  Graham."  From  Mr.  Graham's  col- 
lection the  drawing  in  the  Victoria  and  Albert  Museum 
appears  to  have  passed  to  Queen  Caroline,  thence  succes- 
sively to  Mr.  Dalton,  Horace  Walpole,  Mr.  Strong  of 
Bristol  and  to  Alexander  Dyce,  coming  to  the  Museum 
from  the  last -mentioned  person. 

There  is,  however,  as  Mr.  Goulding  has  pointed  out,  a 
certain  amount  of  doubt  whether  this  portrait  was  actually 

1  Welbeck  catalogue,  p.  24. 


SAMUEL  COOPER  67 

drawn  by  Cooper  himself,  because  Vertue,  in  one  of  his 
MSS.,1  refers  to  a  portrait  in  crayon  of  Cooper,  perhaps  not 
this  actual  work,  but  probably  one  similar  to  it,  which,  he 
says,  Mrs.  Pope,  Mrs.  Cooper's  sister,  remembered  very 
well,  and  also  recollected  its  being  done,  "not,"  he  adds, 
"  by  Cooper  himself,  but  by  Jackson,  [sic]  who  painted 
in  that  way  to  the  life,  and  was  related  to  Cooper."  Another 
copy  of  this  same  portrait  is  in  my  own  collection,  and  a 
little  portrait,  painted  in  sepia  on  a  piece  of  paper  which 
had  been  twice  folded,  is  in  the  Pierpont  Morgan  collection, 
and  claimed  to  represent  Cooper,  and  to  have  been  drawn 
by  himself.     It  had  a  somewhat  interesting  provenance, 
which  was  not  discovered  until  after  the  catalogue  had  been 
printed,  as  on  an  envelope  in  which  this  miniature  had 
been  contained,  were  written  the  words  "  Given  mee  by 
Mrs.  Pope  "  in  a  handwriting  which  appeared  to  belong  to 
the  end  of  the  eighteenth  century. 

Two  other  references  to  Cooper's  work  were  discovered 
by  Mr.  Goulding.  They  concern  an  experiment  on  the 
part  of  the  artist  in  painting  in  oil.  Vertue  thus  writes  :  2 
"  Samuel  Cooper,  limner,  tryd  at  oyl  painting.  Mr.  Hayles 
seeing  that,  turn'd  to  limning,  &  told  Cooper  that  if  [he] 
Quitted  limning,  he  would  imploy  himself  that  way  for 
which  reason  Cooper  kept  to  limning."  It  is  possible 
that  the  picture  that  he  experimented  over  was  his  own 
portrait,  because  Vertue  adds  thus :  "A  picture  of  Sam 
Cooper  limner  painted  in  oyl  by  himself,  only  the  head, 
very  like  him,  was  in  his  house  when  he  died,"  and  then 
finally  tells  us  "  His  widow  sold  all  his  goods  to  one  Priest- 
man,  woollen  drapper,  corner  of  Henrietta  Street,  Covent 
Garden."3 

Another  curious  experiment  on  the  part  of  the  artist  is 
represented  by  a  miniature  in  my  own  collection,  depicting 

1  B.  M.,  Add.  MSS.  23070,  480  old  pagination. 

2  Ibidem,  23069,  240  old  pagination. 

3  Ibidem,  23070,  f.  390,  2ib  old  pagination. 


68  THE   MINIATURE  COLLECTOR 


PLATE  XIII. 

SAMUEL  COOPER 
(1609-1672). 

1.  Noah  Bridges.     Signed. 

Collection  of  Mrs.  Sotheby. 

2.  Col.  Graham  of  Netherby.     Signed  and  dated  1650. 

In  the  Collection  of  Mrs.  John  Abercrombie. 

3.  The  Duke  of  York,  afterwards  James  II.     Signed. 

Collection  of  Mrs.  Sotheby. 


PLATE   XIII 


SAMUEL  COOPER  69 

Sir  Thomas  May,  poet  and  historian,  secretary  and  the 
historiographer  to  the  Parliament.  This  is  painted  on  a 
piece  of  rough  mutton-bone.  In  its  execution,  Cooper 
entirely  altered  his  ordinary  technique,  painting  on  this 
hard  and  slightly  luminous  material  in  a  definite,  rigid 
fashion,  quite  unlike  his  usual  broad  treatment.  It  is,  in 
fact,  so  different  from  an  ordinary  miniature  by  Cooper, 
that  had  it  not  been  for  the  evidence  which  came  with  the 
portrait  from  the  Burrell  collection,  I  should  have  hesitated 
to  accept  it  as  the  work  of  Cooper  at  all.  There  was, 
however,  no  doubt  as  to  whom  it  represented,  nor  as  to  its 
history,  because  there  was  a  letter  in  the  possession  of  the 
family  which  described  it  as  an  experiment  on  the  part  of 
Samuel  Cooper,  painted  on  a  piece  of  bone  just  at  the  time 
when  May  was  issuing  his  "  History  of  the  Parliament  in 
England."  That  would  be  about  1647,  and  the  miniature 
is  still  preserved  in  its  original  and  contemporary  silver 
locket. 

As  regards  Cooper's  miniatures,  it  must  first  of  all  be 
noted  that  many  of  his  finest  works  were  left  incomplete, 
as  for  example  the  portraits  of  the  Duke  of  Monmouth 
and  the  Duke  of  Albemarle  in  the  Royal  collection,  and 
the  two  already  mentioned  of  Oliver  Cromwell  in  the  posses- 
sion of  the  Duke  of  Devonshire  and  the  Duke  of  Buccleuch. 
Perhaps  these  unfinished  portraits  are  the  most  striking. 
They  are  wonderful  representations  of  character,  full  of 
inspiration  and  virility.  Whether  Cooper  was  actually 
indifferent  to  the  manner  in  which  his  sitters  were  clothed, 
or  whether  it  was,  as  has  been  suggested,  that  he  had  so 
little  time  given  him  for  sittings  that  he  had  only  oppor- 
tunity to  do  his  utmost  for  the  faces,  and  had  to  leave  all 
the  rest,  no  one  can  tell,  but  whatever  may  have  been  the 
reason,  these  unfinished  portraits — and  to  those  already 
mentioned  there  must  be  added  one  that  belongs  to  Lord 
Cobham,  another  of  the  Duchess  of  Cleveland  in  the  Royal 
collection,  a  portrait  belonging  to  Lord  Gosford  and  a 


70  THE  MINIATURE  COLLECTOR 

sketch  belonging  to  the  Duke  of  Sutherland— are  amongst 
his  most  important  works.  It  is  perchance,  because  of  the 
actual  absence  of  draperies  and  the  necessity  for  all  the 
effort  to  be  concentrated  upon  the  face,  that  they  are  so 
specially  attractive,  but  no  artist  prior  to  the  time  of  Cooper, 
and  perhaps  hardly  any  one  since  his  time,  has  been  so 
successful  in  laying  bare  in  a  few  strokes  the  very  character 
of  the  sitter,  and  in  presenting  a  living  portrait,  full  of 
truth  and  character. 

When  we  come  to  deal  with  his  finished  paintings,  we 
notice  at  once  the  quiet  key  he  adopted  in  his  colour  scheme. 
The  harmony  is  subdued  and  tender,  exquisite  silvery  greys, 
beautiful  dull  browns,  a  sky  background  of  mingled  pale 
blue  and  greyish  white  and  draperies  of  blue,  brown  or 
black,  full  of  delightful  shadows,  and  then,  gleaming  out 
from  amidst  these  solemn,  rather  Quakerish  surroundings, 
the  stern,  strong  faces  of  his  male  sitters,  or  the  quiet 
pathetic  melancholy  of  the  women  who  sat  to  him.  Hardly 
any  pure  white  is  to  be  seen  in  his  portraits.  Even  in  one 
of  his  most  wonderful  portraits  of  women,  that  of  Mrs. 
Middleton  in  Lord  Beauchamp's  collection,  in  which  the 
pathetic  figure  is  draped  entirely  in  white,  it  can  be  found, 
on  careful  inspection,  to  be  bathed  in  so  delicate  and  subtle 
a  shadow  that  though  the  effect  is  exquisitely  white,  yet 
the  paint  itself  is  not  the  solid  dead  white  which  a  man  of 
lesser  experience  might  have  used,  but  is  suffused  with 
a  wonderful  grey  hue.  Generally  speaking,  however, 
Cooper's  women's  portraits  are  not  as  impressive  as  are 
those  of  the  men,  but  of  the  men,  whether  it  be  the  younger, 
aristocratic  type  of  face,  clean-shaven,  finely  cut,  exquis- 
itely modelled,  with  a  veil  of  long  and  wonderful  hair  falling 
on  either  side  of  the  face,  or  whether  it  be  the  hard,  strong, 
determined  features  of  the  Puritan,  with  a  rigid  simplicity 
of  buttoned  jerkin  and  white  collar,  the  painter  was  equally 
at  home,  and  presented  the  man  to  the  very  life.  All 
that  was  good  in  a  face  received  ample  justice  and  the 


SAMUEL  COOPER  71 

nobler  emotions  usually  ruled  with  him.  A  peculiar 
contrast  in  this  way  may  be  noted  in  two  portraits  in  the 
Pierpont  Morgan  collection :  one,  the  exquisite  face  of 
the  ill-fated  Duke  of  Monmouth,  with  every  sign  of  vacilla- 
tion, a  weak  mouth  and  a  general  air  of  voluptuousness  and 
self-indulgence;  the  other  showing  the  tremendous  stern 
characteristics  of  John,  Lord  Loudoun,  as  set  out  in  a  fine 
miniature  that  was  discovered  behind  some  panelling  in 
Loudoun  Castle,  and  possesses  all  its  colours  fresh  as  they 
were  first  painted. 

Cooper,  it  is  said,  used  to  declare  that  he  could  not 
paint  hands,  and  it  certainly  is  noteworthy  that  in  the  very 
few  large  miniatures  he  executed,  the  hands  are  the  least 
satisfactory  part,  and  in  some  he  has  endeavoured  to  hide 
them  out  of  sight  altogether.  His  largest  portrait  is 
perhaps  the  famous  one  of  Charles  II.,  belonging  to  the  Duke 
of  Richmond  and  Gordon.  In  this  there  are  no  signs  of 
the  hands,  but  in  a  somewhat  similar  portrait  of  the  same 
King,  equally  large,  one  hand  can  be  seen,  and  that  un- 
doubtedly is  somewhat  clawlike  and  inaccurately  drawn. 
There  is  an  unsatisfactory  hand  also  in  the  portrait  of 
Margaret  Lemon  in  fancy  costume,  which  Cooper  drew, 
and  which  was  at  one  time  in  the  possession  of  Mr.  Pfungst, 
and  although  the  hands  in  the  portrait  of  the  Earl  of  Shaftes- 
bury  in  the  Victoria  and  Albert  Museum  are  perhaps  more 
satisfactory,  it  is  yet  clear  that,  even  in  these  instances, 
Cooper  has  devoted  far  greater  attention  to  the  faces,  and 
even  to  the  costume,  than  he  has  to  the  hands. 

It  must  not  be  supposed  by  what  has  just  been  written 
that  I  attach  little  importance  to  Cooper's  portraits  of 
women.  These  indeed,  are  undoubtedly  remarkable 
and  full  of  extraordinary  charm,  but  yet  not  so  startling 
in  their  magnificence  as  are  those  of  the  men,  nor 
do  they  show  quite  the  same  insight  into  character  which 
is  noteworthy  in  the  men's  portraits.  Moreover, 
the  majority  of  his  portraits  of  women  are  not 


72  THE  MINIATURE  COLLECTOR 


PLATE  XIV. 

SAMUEL   COOPER 

(ob.  1672). 

1.  Jane  Myddleton  (1645-1692). 

In  the  Collection  of  Earl  Beauchamp,  K.G. 

2.  Abraham  Cowley  (1618-1667).     Signed  and  dated  1053. 

In  the  Collection  of  the  Duke  of  Portland,  K.G. 


PLATE   XIV 


SAMUEL  COOPER  73 

in  quite  so  good  a  condition  as  are  the  men's  portraits. 
They  have  had  more  carnation  used  in  them,  and  this 
madder  lake,  as  is  its  habit,  has  faded,  so  that  we  do  not 
see  his  women's  portraits  quite  in  the  condition  that  we 
see  those  of  the  men.  It  would  also  appear  that  Cooper 
was  not  given  to  flattery,  and  as  many  of  the  women  of  that 
day  had  been  marked  by  smallpox  and  other  ravages  upon 
their  beauty,  we  do  not  retain  so  fine  an  idea  of  their  charm 
as  might  otherwise  be  the  case.  It  must  be  borne  in  mind, 
as  well,  that  the  standard  of  feminine  beauty  changes  from 
period  to  period,  and  that  comparatively  few  of  the  beauties 
of  the  court  of  Charles  II.  whom  Cooper  painted  would 
now  be  regarded  as  being  specially  lovely  women  ;  their 
charm,  in  all  probability,  consisting  more  in  expression, 
in  piquancy  and  in  wit  than  in  actual  physical  beauty. 

Cooper's  miniatures  as  a  rule  are  signed  by  his  initials, 
sometimes  the  two  letters  set  side  by  side,  and  other  times 
conjoined  in  monogram  form.  Many  of  them  are  dated, 
and  usually  both  the  monogram  and  the  dates  are  painted 
in  gold.  The  characteristic  of  the  painter's  work  lies  in 
its  broad,  strong  brush-work,  and  some  of  his  most  wonder- 
ful miniatures  are  those  in  which  the  face  is  surrounded 
with  a  wealth  of  long  hair,  which  itself  is  represented  with 
marvellous  dexterity,  each  single  line  seeming  to  be  separ- 
ate from  that  preceding  it.  Almost  all  the  faces  are  serious 
and  grave,  wellnigh  to  the  point  of  sternness ;  even  those 
of  the  cavaliers  whom  Cooper  so  cleverly  represented  are 
by  no  means  cheerful.  The  impress  of  that  Puritan  life 
which  in  his  time  was  crushing  out  so  many  of  the  joys  of 
existence,  and  which  bore  in  especial  fashion  so  heavily 
upon  the  women  of  the  day,  was  very  clearly  marked  upon 
all  Cooper's  portraits.  He  made  use  of  a  peculiar  brick- 
dusty  ruddy  red  in  his  countenances,  but  it  is  seldom  that 
this  colour  can  be  seen  in  its  full  strength.  Only  a  few  of 
his  miniatures  have  been  really  shut  away  in  cases  and  care- 
fully guarded,  but  from  those  few  we  are  able  to  realise 


74  THE  MINIATURE   COLLECTOR 

how  extraordinarily  fine  his  colouring  must  have  been  when 
the  miniatures  were  first  executed. 

It  will  be  well  that  any  collector  in  purchasing  a  minia- 
ture reputed  to  be  by  Samuel  Cooper  should  take  parti- 
cular care  in  examining  the  date.  There  are  in  existence 
two  miniatures,  both  purporting  to  be  his  work,  and 
both  dated  after  his  decease.  In  both  these  examples, 
it  is  clear  that  the  majority  of  the  work  of  the  miniature 
was  actually  by  Samuel  Cooper  himself,  but  some  damage 
has  happened  to  the  portraits,  and  they  have  been  skilfully 
repaired  by  an  artist  who  was  not  aware  of  the  date  of 
Cooper's  decease.  He  has  copied  the  figures  of  the  date, 
to  the  best  of  his  ability,  and  with  an  unfortunate  result. 
One  of  the  portraits,  representing  Lord  Shaft esbury,  was 
an  extremely  fine  miniature,  and  but  for  this  unfortunate 
correction  and  alteration,  would  have  been  a  very  precious 
one.  As  it  is,  however,  it  is  ruined  as  a  work  of  historical 
importance,  because  the  date  it  bears  is  impossible,  and 
we  have  no  knowledge  as  to  the  actual  date.  There  have 
been  many  miniatures  by  Cooper  sold  in  recent  days  which 
have  been  touched  up,  and  these  should  be  carefully  avoided 
as  their  value  has  been  seriously  reduced  by  such  additions. 

Alexander  Cooper  was  Samuel's  elder  brother,  but  his 
work  is  not  so  important,  and  the  best  examples  of  it 
are  to  be  sought  for  out  of  England.  The  most  notable 
of  all  is  a  series  of  miniatures  representing  Frederick  V. 
the  Elector  Palatine  and  his  family,  in  Berlin.  It  was  for 
a  while  amongst  the  private  possessions  of  the  German 
Emperor,  but  later  on  was  ceded  to  the  Kaiser  Friedrich 
Museum.  From  this  series  there  are  three  portraits 
missing,  those  of  Prince  Gustavus,  Prince  Edward,  and 
Princess  Sophia.  The  latter  would  have  been  specially 
interesting  to  Englishmen,  as  she  was  the  ancestress  of  the 
Hanoverian  sovereigns,  and  thus  of  the  dynasty  that  now 
occupies  the  throne  of  England.  The  empty  places  for 
these  three  missing  portraits  still  exist,  and  the  whole 


SAMUEL   COOPER  75 

series  forms  twelve  circular  discs,  which  fold  one  over  the 
other,  and  when  folded  together,  are  a  little  pile  about 
a  couple  of  inches  high.  The  top  and  bottom  discs  bear 
the  royal  crown  and  monogram  and  the  date  1633,  and  on 
each  disc  in  black  and  white  enamel,  are  the  name  and  age 
of  the  person  whose  portrait  is, or  should  be, contained  in  the 
disc,  and  also  the  record  when  the  portrait  was  painted. 
The  eldest,  Charles,  was  painted  on  December  22nd,  1632, 
when  he  was  fourteen ;  Prince  Rupert  was  painted  when  he 
was  twelve ;  his  brother  Maurice,  equally  distinguished  in  the 
English  Civil  Wars,  was  eleven;  Philip,  who  was  killed  in 
battle  in  Germany,  was  five;  Elizabeth,  the  friend  of 
William  Penn,  was  painted  when  she  was  thirteen  ;  Louisa, 
afterwards  Abbess  of  Maubisson,  was  ten,  and  Henrietta, 
afterwards  Princess  of  Transylvania,  painted  on  July  yth, 
1632,  when  the  little  girl  was  but  six.  Of  the  three  missing 
portraits,  Prince  Edward  was  painted  when  he  was  eight, 
Princess  Sophia  when  two,  and  Prince  Gustavus  in  the  first 
year  of  his  age. 

At  the  time  when  this  delightful  series  of  portraits  was 
executed,  Alexander  Cooper  was  resident  in  the  Hague, 
and  was  a  frequent  visitor  at  the  lodging  of  the  "  Queen 
of  Hearts."  Shortly  after  that,  we  believe  that  he  was  in 
England,  because  there  is  a  miniature  by  him,  in  the 
possession  of  the  Queen  of  Holland,  representing  James  II. 
as  a  young  lad  which  must  surely  have  been  painted  about 
1647,  an-d  then  either  in  this  country,  or  possibly  when 
James  was  on  a  visit  to  Scandinavia.  At  about  that  time, 
Alexander  Cooper  went  to  Stockholm,  and  became  portrait 
painter  to  Queen  Christina,  for  whom  he  executed  a  great 
many  miniatures.  When  in  Scandinavia,  some  years  ago, 
I  was  able  to  discover  many  documents  relative  to  this 
artist,  which  are  set  out  in  a  special  article  concerning  him 
in  the  Nineteenth  Century  for  October,  1905,  and  there  is 
reproduced  in  that  article  a  receipt  in  his  own  handwriting, 
which  is  almost  the  only  piece  of  his  writing  known  to 


76  THE  MINIATURE  COLLECTOR 


PLATE  XV. 

ALEXANDER  COOPER 

(ob.  1660). 

A  Lady,   name  unknown.     Signed. 
A  Lady,   name  unknown.     Signed. 

A  Man,  name  unknown,  husband  of  the  lady  whose  portrait  is 
opposite  to  his.     Signed. 

All  three  in  the  Collection  of  the  Queen  of  Holland. 

Gustavus  Adolphus  (ob  1632).     Signed. 

In  the  Gothenburg  Museum,  given  to  the  ancestors  of  the 
General  who  presented  it  to  the  Museum  ;  by  the  King 
himself. 


PLATE   XV 


SAMUEL   COOPER  77 

exist.  From  these  documents  we  gather  that  Alexander 
had  another  name,  that  of  Abraham,  but  he  dropped  the 
second  name  and  signed  himself  as  Alexander  Cooper, 
and  on  his  miniatures  "  A.  C."  Furthermore,  certain  of 
these  documents  alluded  to  him  as  the  Jew  portrait  painter. 
Whether  because  his  name  was  Abraham  or  whether  there 
was  actually  Jewish  blood  in  his  veins  we  have  no  means 
of  knowing,  but  it  is  clear,  from  the  way  in  which  he  was 
employed  at  the  Swedish  Court,  that  his  Jewish  parentage, 
if  it  existed,  did  not  interfere  with  his  success. 

He  was  not  treated  in  satisfactory  fashion  by  the  Swedish 
Court.  He  had  to  appeal  to  various  officials  for  the  pay- 
ment of  his  salary,  and  a  pathetic  letter  written  when  he 
was  ill  and  confined  to  his  bed  and  in  great  need  of  money, 
is  still  in  existence,  and  addressed  by  him  to  Count  Magnus 
Gabriel  de  la  Gardie,  praying  that  he  might  be  given  the 
money  that  was  due  to  him.  He  appears  to  have  left 
Sweden  in  1656  for  a  while,  and  to  have  carried  out  some 
work  in  Denmark.  In  the  following  year,  however,  he 
was  back  in  Stockholm,  and  there  resided  during  the  remain- 
ing three  years  of  his  life.  It  is  probable  that  his  death 
occurred  as  the  result  of  some  sudden  illness,  which  over- 
took him  while  he  was  engaged  in  his  professional  work, 
because  the  record  of  his  decease,  which  occurred  in  1660, 
declared  in  pathetic  language  that  he  died  "  at  his  rooms 
in  the  inner  quarter  of  the  city,  alone,  while  at  work,  and 
with  his  brush  in  his  hand."  There  are  a  few  other  docu- 
ments relative  to  Alexander  Cooper,  which  are  quoted  by 
Mr.  Foster  in  his  work  on  Samuel  Cooper  already  referred 
to.  Two  of  his  paintings  are  in  the  possession  of  the  Queen 
of  Holland  and  are  depicted  in  colour  in  the  little  book 
recently  prepared  by  Monsieur  Fritz  Lugt  on  that  collec- 
tion. Unfortunately,  however,  it  is  not  known  who  either 
of  them  represents.  Another  anonymous  miniature  signed 
by  Alexander  Cooper  is  in  the  possession  of  the  Duke  of 
Buccleuch ;  a  fine  one  is  illustrated  in  Lemberger's  book 


78  THE  MINIATURE  COLLECTOR 

on  Scandinavian  miniatures,  and  an  important  portrait  of 
the  Prince  Palatine  is  in  the  collection  of  Mr.  Whit  combe 
Green. 

Alexander  Cooper  appears  also  to  have  been  a  skilful 
painter  in  enamel,  and  this  information  has  come  to  light 
within  the  last  few  years.  Queen  Christina 's  correspondence 
with  Paolo  Giordano  Orsini  II.,  Duke  of  Bracciano,  after 
having  been  inaccessible  to  scholars  for  many  years,  has 
been  purchased  by  the  City  of  Rome,  and  Baron  de  Bildt, 
the  Swedish  Minister,  who  is  the  principal  authority  in 
Europe  on  the  history  of  Queen  Christina,  discovered 
amongst  the  letters,  allusions  to  gifts  made  by  the  Queen 
to  the  Duke,  of  miniatures  and  an  enamel  by  Alexander 
Cooper.  Two  of  the  portraits  that  the  Queen  sent  were  of 
herself,  one  in  ordinary  costume,  and  one  in  Coronation 
robes,  and  another  was  a  copy  of  a  picture  of  Titian  in 
her  possession.  This  seems  to  have  been  in  enamel.  We 
also  learn  from  some  papers  preserved  in  Sweden  that 
Cooper  painted  several  portraits  of  Charles  X.,  who  suc- 
ceeded Queen  Christina,  and  that  these  were  set  in  dia- 
monds, and  given  to  various  ambassadors,  notably  to  the 
French  Ambassador,  to  the  Danish,  and  to  the  Swedish 
Ambassador  in  Russia.  Probably  one  of  these  was  sent 
to  Italy,  because,  quite  recently,  it  has  been  discovered 
in  Rome,  set  in  a  diamond  etui,  and  signed  and  dated  by 
Alexander  Cooper.  Another  portrait  of  the  same  King  is  in 
the  Gothenburg  Museum,  and  he  is  represented  in  armour, 
wearing  the  sash  of  an  Order.  This  was  presented  to  the 
Museum  by  the  descendants  of  the  General  to  whose  ances- 
tors it  had  been  given  by  the  King  himself.  Of  the  portraits 
of  Queen  Christina  painted  by  Alexander  Cooper  I  have  not 
been  able  to  trace  a  single  example,  although  it  is  quite 
clear  from  the  documents  that  many  of  them  were  executed. 
One  portrait  of  her,  however,  painted  in  oil  on  copper,  was 
lent  by  a  Mr.  Henry  Holt  to  the  exhibition  at  South  Ken- 
sington in  1865,  and  again  to  Leeds  in  1868.  I  have  not 


SAMUEL  COOPER  79 

been  able  to  find  it,  and  I  am  gravely  doubtful  as  to  whether 
it  was  Cooper's  work  at  all,  as  we  have  no  evidence  that 
he  ever  painted  in  oil  or  on  copper,  but  all  his  known 
miniatures  are  in  water-colour. 


CHAPTER   VII 

THE   INTERREGNUM 


I  HAVE  called  the  period  after  the  time  of  Samuel 
Cooper,  until  the  great  revival  of  miniature  painting 
in  the  eighteenth  century,  which  was  occasioned 
by  the  institution  of  the  Royal  Academy,  the  Interreg- 
num, because,  during  that  time,  there  lived  no  great 
master  of  miniature  painting — no  one  who  could  in  any 
way  compete  with  Samuel  Cooper,  nor  any  who  could  take 
such  a  position  as  was  afterwards  assumed  by  the  greater 
eighteenth-century  men,  such  as  Cos  way,  Engleheart, 
Smart,  Plimer  and  Humphry.  This  is  not  to  say,  however, 
that  the  period  was  an  unimportant  one,  or  even  that 
there  were  no  eminent  exponents  of  the  art  during  the  time 
that  it  covered.  It  was  not  so.  There  were  a  multitude 
of  miniature  painters  between  the  time  of  Charles  II.  and 
that  of  George  III. :  some  of  them  almost  in  the  front 
rank ;  in  fact,  it  is  rather  a  question  as  to  whether  one  man, 
Flatman,  was  not  actually  amongst  the  foremost  when  at 
his  best,  and  another,  Lawrence  Crosse,  in  his  own  particu- 
lar aspect,  and  at  his  own  period,  was  at  least  equal  in 
merit  to  many  of  those  who  had  preceded  him.  A  great 
part  of  the  period  is  distinctly  under  the  influence  of  Sir 
Peter  Lely,  and  many  of  the  miniaturists  of  that  time  were 
actually  his  pupils,  notably  Flatman,  Sadler,  Greenhill, 
Mary  Beale  and  probably  Charles  Beale,  and  perhaps 
even  others,  about  whom  we  cannot  be  quite  so  certain. 
The  man  who  succeeded  Cooper  in  popular  estimation, 
and  who  was  certainly  admitted  and  sworn  as  the  King's 

80 


THE  INTERREGNUM  81 

Limner  after  Cooper's  decease,  that  is  to  say,  in  about 
1673,  was  Nicholas  Dixon,  and  Mr.  Goulding  has  discovered 
a  document  regarding  an  order  to  the  cofferer  of  the  royal 
household  for  £200  per  annum  to  be  paid  quarterly  to  this 
man,  in  lieu  of  diet  or  board  wages,  who,  the  document 
says,  "  having  been  lately  admitted  and  sworn  King's 
Limner  loco  Samuel  Cooper,  deceased."  Dixon  appears 
to  have  taken  this  salary,  so  Mr.  Goulding  tells  us,  for 
some  few  years,  the  latest  receipt  to  come  under  his  notice 
being  one  for  1678.  Then  there  probably  ensued  some 
financial  difficulty,  because  Dixon,  who  was  at  that  moment 
living  in  the  parish  of  St.  Martin-in-the-Fields,  mortgaged 
to  John  Holies,  Duke  of  Newcastle,  his  limnings,  seventy 
in  number,  on  November  23rd,  1700,  for  the  sum  of  £430. 
It  seems  probable  that  this  money,  or  certainly  the  greater 
part  of  it,  was  never  repaid  by  Dixon,  because  there  are 
at  least  thirty  of  these  limnings  at  Welbeck  Abbey  now, 
whence  they  came  from  the  Duke  of  Newcastle  to  his 
daughter  the  Countess  of  Oxford,  and  to  her  daughter 
the  Duchess  of  Portland.  The  mortgage  is  referred  to  by 
George  Vertue  in  his  MSS.,  in  which  he  says  that  the  whole 
collection  of  engravings,  and  limnings,  most  of  which  were 
large  miniature  copies,  on  vellum,  after  paintings  by  the 
old  masters,  were  disposed  of  and  bought  by,  and  in  the 
possession  of,  the  Duke  of  Newcastle,  and  Vertue  speaks 
of  the  painter  as  being  in  high  reputation  in  the  time  of 
Charles  II.,  in  that  of  James  II.,  and  in  the  beginning  of 
the  reign  of  William.  We  do  not  know  exactly  when  Dixon 
died,  Vertue  only  telling  us  that  this  transaction  took 
place  a  little  before  he  died,  and  implying  that  he  was 
in  very  bad  health  at  the  time  the  transfer  occurred.  As 
to  what  has  become  of  the  remainder  of  the  seventy 
limnings  that  the  Duke  of  Newcastle  at  one  time  possessed, 
it  is  impossible  to  say.  Several  notable  collections  own 
works  by  Dixon,  and  one,  which  is  in  the  Pierpont  Morgan 
collection,  is  a  copy  of  an  old  picture  ;  the  others  probably 


82  THE   MINIATURE  COLLECTOR 


PLATE  XVI. 

NICHOLAS   DIXON 
(1670-1726). 

THE  INTERREGNUM. 

1.  A  Lady  and  Child. 

Collection  of  the  Earl  Spencer,  K.G. 

2.  Lady  Crisp.     Signed. 

Collection  of  Mrs.  Sotheby. 


PLATE   XVI 


THE  INTERREGNUM  83 

still  exist,  and  have  not  yet  been  attributed  to  the  artists 
who  painted  them. 

The  collector  will  find  a  little  puzzle  awaiting  his  solu- 
tion with  regard  to  these  very  miniatures,  as  Mr.  Goulding 
is  inclined  to  think  that  one  or  two  of  the  portraits  which 
are  usually  given  to  Dixon,  notably  a  whole-length  repre- 
sentation of  the  Duke  of  Graf  ton  in  the  Duke  of  Buccleuch's 
collection,  dated  1676,  were  perchance  the  work  of  another 
painter.  He  reads  the  initials  which  form  this  signature 
as  "D.M."  instead  of  "  D.N.,"  and  thinks  that  the  first 
and  second  strokes  of  the  "  M  "  are  identical  with  those 
of  the  "  D."  He  finds  the  same  curious  type  of  signature 
on  a  work  belonging  to  Lord  North,  preserved  at  Wroxton 
Abbey,  and  also  on  a  fine  one  which  was  sold  at  Christie's 
a  year  or  two  ago,  after  the  decease  of  its  owner,  Mr. 
Pfungst.  We  have,  however,  no  knowledge  at  the  pre- 
sent time  of  any  artist  whose  name  began  with  "  M." 
and  whom  we  could  suggest  to  accord  with  these 
initials.  We  are  therefore  rather  more  inclined  to  accept 
them  as  the  work  of  Nicholas  Dixon,  and  to  wonder  if  he 
was  perhaps  trying  to  make  a  monogram  of  a  possible 
middle  name,  or  whether  it  was  an  unusual  form  of  putting 
together  the  "  M  "  and  the  "  D."  In  either  of  the  cases 
referred  to  by  Mr.  Goulding,  the  signature  is  not  very  clear, 
and  it  may  almost  equally  represent  "  N.D."  or  "  M.D." 
There  are  several  of  Dixon 's  miniatures,  however,  quite 
definitely  signed  "  N.D.,"  one,  for  example,  belonging  to 
Lord  Exeter,  another  to  Lord  Carlisle,  a  third  in  the  Pier- 
pont  Morgan  collection,  and  two  or  three  in  that  of  the 
Duke  of  Buccleuch.  The  work  is  broad  and  free  and  easy, 
and  it  certainly  resembles  that  of  Cooper  in  many  respects. 

Another  difficulty  arises  in  connection  with  the  minia- 
ture painters  named  Cleyn.  We  know  about  the  father, 
Francis,  who  was  connected  with  the  Royal  tapestry 
works  at  Mortlake,  and  both  Vertue  and  Evelyn  speak  of 
his  children  who  were  miniature  painters.  There  is  also 


84  THE  MINIATURE  COLLECTOR 

some  evidence  that  he  had  a  daughter  named  Penelope, 
and    miniatures     signed    "  P.C."    are    usually    accepted 
as    being    her    work,    but    the    collector    must  hesitate 
in  making  such  an  attribution  definitely,  because  there 
was  an  artist  named  Paolo  Carrandini  who  also  signed 
"  P.C.,"  and,  moreover,  there  was  Penelope  Cotes,  but  she 
belonged  to  a  different  period,  and  is  therefore  not  very 
likely  to  be  confused  with  the  two  former  persons ;  who 
signed  in  the  same  manner.      Penelope  Cleyn  had  two 
brothers,  Charles  and  John,  and  works  by  each  of  them  are 
known  to  exist,  signed  with  the  initials,  monogram  fashion, 
as  a  rule,  in  gold.    We  are  not  clear  about  the  history  of 
Paolo  Carrandini,  and  it  has  not  at  present  been  settled, 
with  anything  like  precision,  as  to  whether  the  miniatures 
signed  by  "  P.C."  are  to  be  given  to  one  or  the  other 
painter.     There  is  a  touchstone    in    existence,   because, 
in  the  possession  of  Messrs.  Parsons  of  Brompton  Road, 
there  was,  some  few  years  ago,  a  portrait  of  Mary  of  Modena 
which  was  signed  in  full  by  Carrandini  and  dated  ;    but 
to  make  the  matter  even  more  complex,  this  portrait  bore 
a  striking  resemblance  in  technique  to  another,  which  had 
always  been  attributed,  and  with  some  evidence  in  the  way 
of  family  tradition,   to   Penelope  Cleyn.     Charles  Cleyn 
signed   with    double    "  C's  "   interlaced,    and   the   works 
executed  by  him  and  by  his  brother  were   almost  always 
on   vellum,   and  there  are   frequently   quaint  landscape 
backgrounds  to  be  seen,  sometimes  a  corner  of  a  formal 
garden,    with    a    fragment   of   statuary ;     while   another 
notable  point  is  the  extraordinary  pallor  of  the  faces  in  the 
miniatures   executed  by  these  two  brothers.    Tradition 
says  of  Carrandini  that  he  lived  but  a  very  few  years,  that 
he  came  over  with  Mary  of  Modena,  that  his  miniatures 
all  represent  persons  of  her  court,  and  that  he  died  suddenly 
from  the  effects  of  poison  in  1679  ;  but  we  have  no  docu- 
ments at  present  discovered  to  support  either  of  these 
statements,  and,  in  fact,  we  are  inclined  to  believe  that  he 


THE  INTERREGNUM  85 

was  in  England  prior  to  the  time  when  Mary  of  Modena 
reached  our  shores. 

Another  interesting  man  was  Balthazar  Gerbier,  who  was 
an  architect  and  painter  to  the  Duke  of  Buckingham,  and 
afterwards  to  Charles  I.,  by  whom  he  was  knighted. 
Amongst  the  Harleian  MSS.  in  the  British  Museum  is  a 
letter  from  the  Duchess  of  Buckingham,  who  writes  to  her 
husband,  then  in  Spain,  and  says,  "  I  pray  you,  if  you  have 
any  idle  time,  sit  to  Gerbier  for  your  picture,  that  I  may 
have  it  well  done  in  little."  There  was  an  extremely  fine 
drawing  by  him  in  the  Wellesley  collection,  representing  a 
gentleman  whose  name  is  unknown,  and  who  was  painted 
at  the  age  of  twenty-two.  It  is  signed  and  dated  1616, 
and  one  ought  to  be  able  to  identify  the  sitter,  because  his 
arms  are  quite  clearly  displayed  upon  the  portrait.  One 
of  Gerbier's  finest  miniatures  is  in  the  possession  of  the 
Queen  of  Holland,  and  is  illustrated  in  colour  in  the  little 
book  that  has  been  written  by  Mr.  Lugt  on  that  collection. 
It  represents  Prince  Maurice,  and  was  drawn  in  the  same 
year  as  the  Wellesley  portrait  on  vellum  was  prepared. 
There  is  also  another  portrait  dated  at  that  time,  repre- 
senting Prince  Charles,  afterwards  Charles  I.,  and  there  is 
a  portrait  of  Frederick  V.  in  existence,  by  Gerbier,  and 
one  of  Henry,  Duke  of  Gloucester,  adorns  the  Pierpont 
Morgan  collection.  Yet  another  belongs  to  the  Duke  of 
Northumberland  and  represents  the  Duke  of  Buckingham. 
It  may  quite  well  be  the  very  one  alluded  to  above. 
There  is  also  one  in  the  Rijks  Museum  representing  a 
Swedish  diplomatist,  and  Dr.  Staring  knows  that  there 
existed  at  one  time  two  other  works  by  this  same  artist. 
Beyond  these,  I  have  not  been  able  to  trace  with 
certainty  anything  by  the  hand  of  this  painter.  He 
had  a  great  sense  of  colour,  and  a  particular  love  for 
representing  gold  on  scarlet,  or  orange,  and  when  this  was 
presented  with  a  deep  blue  background,  the  result  was 
somewhat  magnificent.  It  seems  clear  that  Gerbier  was 


86  THE   MINIATURE  COLLECTOR 


PLATE  XVII. 
THE   INTERREGNUM. 

Sir    Edward    Spragge    (?)     (ob.  1673).     By   Lawrence    Crosse 
(c.  1650-1724). 

Collection  of  the   Duke    of   Buccleuch   and  Queensberry, 

Sir  Godfrey  Kneller  (1646-1723).     By|Susan  Penelope  Gibson 
(Mrs.  Rosse). 
In  the  Collection  of  the  Duke  offPortland,  K.G. 

Alexander  Pope  (1688-1744).     By  Bernard  Lens   (1682-1740). 
Signed. 

From  the  Strawberry  Hill  Collection. 


PLATE 'XVII 


THE  INTERREGNUM  87 

a  man  who  had  his  own  ideas  of  colouring,  and  who  was 
not  afraid  of  them. 

Then,  we  must  not  forget  Richard  Gibson,  who,  accord- 
ing to  Walpole,  taught  Queen  Anne  to  draw,  and  went  to 
Holland  to  instruct  her  sister,  the  Princess  of  Orange, 
afterwards  Queen  Mary,  and  Sanderson,  in  the  "  Graphice," 
1658,  a  work  to  which  allusion  has  already  been  made, 
refers  to  a  portrait  by  Gibson,  and  speaks  of  its  being  done 
"  with  elaborate  and  yet  accurate  neatness  as  may  be  a 
masterpiece  to  posterity."  He  is  frequently  known  as 
Dwarf  Gibson.  He,  again,  was  extraordinarily  well  repre- 
sented in  the  Wellesley  collection,  by  a  drawing  of  his  own 
portrait,  signed,  and  dated  1690.  It  is  a  beautiful  work,  in 
crayon,  which  was,  at  one  time,  in  the  Tart  Hall  collection, 
so  Walpole  tells  us,  and  afterwards  came  into  the  possession 
of  Sir  Thomas  Lawrence,  who  valued  it  very  highly.  It  is 
now  in  the  National  Portrait  Gallery. 

Gibson  appears  to  have  had  a  nephew,  one  William 
Gibson,  another  of  Lely's  pupils,  whom  Walpole  mentions, 
and  he  had  a  daughter,  Susanna,  perhaps  Susanna  Pene- 
lope, who  became  the  wife  of  a  Mr.  Ross  or  Rose,  who  was 
a  jeweller.  Vertue  tells  us  that  there  were  several  works 
by  her,  and  says  that  she  signed  them  "  S.P.R."  I  must 
confess  that  I  have  never  seen  a  miniature  signed  with 
these  three  initials,  unless  they  are  conjoined  in  such  a 
way  that  I  have  not  recognised  them,  but  I  have  seen  one 
signed  "  S.R.,"  which  I  attribute  to  her,  and  I  have  always 
declared  that  a  number  of  miniatures  with  a  pocket-book, 
exhibited  at  the  Victoria  and  Albert  Museum,  and  attri- 
buted to  quite  another  artist,  were  by  Mrs.  Ross,  on  evidence 
connected  with  the  handwriting  on  their  reverse,  and  sup- 
ported by  the  statement  that  one  of  them  is  distinctly 
described  by  the  artist  as  representing  "  my  father,  Rosse." 
In  this  opinion,  I  am  supported  by  Mr.  Richard  Goulding, 
who  has  given  considerable  attention  to  these  miniatures  ; 
but  the  question  is  by  no  means  settled,  because  Mr. 


88  THE  MINIATURE  COLLECTOR 

Kennedy,  who  has  written  about  the  Buccleuch  portraits, 
is  not  disposed  to  accept  the  attribution,  and  does  not 
consider  that  the  writing  at  the  back  of  the  Victoria  and 
Albert  Museum  portraits  is  identical  with  that  which 
ascribed  a  drawing  of  the  Duke  of  Monmouth  as  a  child 
to  Mrs.  Ross.  He  maintains  that  the  vellum  on  which  this 
particular  portrait  is  painted  is  not  older  than  the  nine- 
teenth century,  but  we  are  not  all  of  us  inclined  to  accept 
even  that  statement,  and  although  a  Mrs.  Ross,  who  died  in 
1821,  is  said  to  have  existed,  yet  we  have  no  evidence  what- 
ever as  to  who  she  was,  or  where  she  lived  or  died.  Nor  is 
she  mentioned  in  any  of  the  standard  dictionaries.  More- 
over, the  statement  on  the  back  of  the  Buccleuch  minia- 
ture which  reads  "  Duke  Montmouth,  after  Mr.  Cooper 
per  Mrs.  Ross  "  is  not  in  the  least  nineteenth -century 
style,  and  although  it  may  frankly  be  confessed  that  the 
handwritings  are  not  very  similar,  yet  the  inscription  on 
the  Buccleuch  miniature  may  not  necessarily  have  been  in 
the  artist's  own  handwriting,  and  looks  indeed  more  like 
a  statement  of  what  the  miniature  is,  than  a  signature, 
and  if  so,  may  have  been  the  work  of  some  one  other  than 
the  artist.  We  do  know  of  the  existence  of  Gibson's 
daughter,  Mrs.  Ross  ;  we  have  no  evidence  of  the  existence 
of  any  other  Mrs.  Ross ;  we  know  very  little  about  the 
age  of  vellum,  and  therefore  the  problem  has  not  yet  been 
solved.  As  a  rule,  Vertue's  opinion  may  be  accepted  with  a 
good  deal  of  confidence,  but  the  remarks  he  makes  in  his 
MSS.  concerning  Dixon,  Penelope  Cleyn  and  Mrs.  Ross  are 
certainly  rather  bewildering,  and  we  still  await  further  evi- 
dence for  a  definite  conclusion  about  either  of  these  artists . 
A  remarkable  piece  of  evidence  has,  however,  recently 
come  to  light  which  helps  to  corroborate  to  a  marked  degree 
the  theory  just  "set  out.  It  appears  that  one  of  the  miniatures 
of  the  series  is  described  as  being  the  portrait  of  a  Mrs. 
Van  Vryberghe.  A  Dutch  gentleman  who  was  recently 
visiting  England,  a  Dr.  Staring,  has  been  able  to  give_the 


THE   INTERREGNUM  89 

information  that  Mrs.  Van  Vryberghe,  with  whose  name 
and  history  he  is  very  familiar,  was  a  Miss  Gibson,  a  daugh- 
ter of  Gibson  the  artist,  and  that  she  had  a  sister,  one  Mrs. 
Ross  or  Rosse.  This  further  information,  I  am  disposed 
to  think,  really  settles  the  question. 

Gibson's  own  signed  work  is  very  unusual,  but  there  is  a 
fine  portrait  of  Lady  Anne  Carr,  in  the  possession  of  Lord 
Beauchamp,  which  is  signed,  and  another  work,  repre- 
senting Lord  Ogle,  is  at  Welbeck.  One  of  the  best  he  ever 
painted  is  a  portrait  of  Lady  Carnarvon,  a  large  one,  clearly 
signed  on  the  obverse,  and  the  signature,  curiously  enough, 
very  closely  resembles  the  writing  said  to  be  that  of  Mrs. 
Ross,  which  is  on  the  back  of  the  miniatures  at  the  Victoria 
and  Albert  Museum. 

Then  there  is  a  miniature  painter,  who  signed  "  S.F." 
or  "  F.S."  His  miniatures  have  at  one  time  been  attri- 
buted to  Francis  Cleyn,  the  father  of  Penelope,  butjthe 
second  initial  is  clearly  an  "  S  "and  not  a  "  C,"  and  therefore 
the  tradition  does  not  help  us  very  far.  There  was  a 
painter  named  Sadler,  who  has  been  mentioned  in  con- 
nection with  them,  but  the  general  opinion  about  him  was 
that  his  name  was  Thomas.  There  is  a  drawing  in  existence 
by  Faithorne,  undoubtedly  the  work  of  that  artist,  which 
is  signed,  not  "  W.F."  as  one  would  expect,  but  "  G.F.," 
the  name  having  been  Latinised,  and  it  is  just  a  possible 
thing  that  some  similar  explanation  may  help  us  to  deter- 
mine the  identity  of  miniatures  signed  "  M.D."  or  "  D.M." 
and  "  S.F."  or  V  F.S." 

Flatman  deserves  more  attention.  At  his  best,  he  was 
a  good  painter,  not,  perhaps,  an  inspired  one,  but  sound 
and  excellent.  He  had  a  somewhat  curious  career.  A 
Londoner,  he  was  born  in  Aldersgate  Street  in  1637.  He 
was  at  Winchester,  and  then  a  scholar,  afterwards  a 
Fellow,  of  New  College,  Oxford,  and  in  1657  he  entered 
the  Inner  Temple,  having  left  Oxford,  so  the  University 
records  tell  us,  without  a  degree.  At  that  time,  however, 


90  THE  MINIATURE  COLLECTOR 

so  I  have  recently  been  informed,  New  College,  unique 
amongst  the  various  colleges,  possessed  the'power  of  grant- 
ing a  degree  irrespective  of  the  University,  and  these 
degrees  are  not  recorded  in  the  University  records.  In 
1666  Flatman  took  his  Master's  degree  in  Cambridge, 
and  the  documents  tell  us  it  was  given  to  him  by  King's 
letters,  he  being  already  a  B.A.  of  Oxford.  This  statement, 
which  appears  to  contradict  the  University  books,  may 
perhaps  be  explained  by  reason  of  that  special  privilege 
which  New  College  then  possessed.  Flatman  became  a 
barrister,  but  interested  himself  in  painting,  and  then  in 
poetry.  He  declared  himself  as  one  who  had  no  sympathy 
for  women,  and  who  was  determined  to  live  a  bachelor, 
but  in  1672  he  met  a  lady,  who  is  declared  as  "  a  fair  virgin 
of  some  fortune,"  and  he  forthwith  married  her,  bought 
an  estate  near  Diss,  and  there  settled  down.  He  died, 
however,  in  St.  Bride's  parish,  in  1688,  and  is  buried  in  that 
church.  One  of  the  best  miniatures  that  he  ever  painted 
represents  Mr.  (Edward?)  Gregory,  Clerk  of  the  Cheque 
at  Chatham,  a  man  who  is  frequently  mentioned  by  Pepys. 
There  are  several  Gregorys  alluded  to  in  Pepys'  Diary, 
and  it  is  clear  that  not  all  the  references  can  be  to  the  same 
man :  one,  who  is  mentioned  in  1666,  must  evidently  be 
Henry  Gregory,  a  member  of  the  King's  band ;  another, 
called  "  an  understanding  gentleman,"  is  not,  I  am  disposed 
to  think,  the  person  represented  in  the  miniature,  but 
our  Edward  Gregory  is  probably  Pepys'  old  acquaintance 
whom  he  met  at  the  Maypole  in  the  Strand,  at  Marsh's  in 
Whitehall,  at  the  Dolphin,  and  at  the  Crown  at  Rochester, 
and  with  whom,  on  each  occasion,  he  had  a  drink  and  a  long 
talk.  Oddly  enough,  there  was  a  second  Gregory  who  was 
Clerk  of  the  Cheque  at  Chatham,  one  Jeremiah,  but  the 
man  represented  on  the  portrait  painted  by  Flatman,  which 
belongs  to  Mr.  Frederick  Wallop,  and  was  one  night,  by  his 
kind  permission,  exhibited  at  the  Samuel  Pepys  Club,  is 
probably  a  portrait  of  Edward  Gregory. 


THE  INTERREGNUM  91 

Flatman's  memory  is  preserved  to  us  four  rhyming 
lines,  which  alluded  to  his  skill  in  the  three  arts  of  law, 
poetry  and  painting  : 

"  Should  Flatman  for  his  clients  strain  the  laws, 
The  painter  gives  some  colour  to  the  cause. 
Should  critics  censure  what  the  poet  writ, 
The  pleader  quits  him  at  the  bar  of  Wit." 

Flatman's  miniatures  are  usually  signed  with  a  tiny 
"  F  "  ;  there  is  sometimes  a  "  T  "  conjoined  with  it,  but  one 
needs  to  look  exceedingly  closely  at  the  monogram  to 
distinguish  the  upper  part  of  the  "  T." 

Another  artist  not  to  be  forgotten  is  David  des  Granges, 
who,  it  has  been  ascertained,  was  the  son  of  Samson  des 
Granges,  a  native  of  Guernsey,  was  born  in  London, 
baptized  at  the  French  Church,  in  Threadneedle  Street, 
on  May  24th,  1611,  and  was  with  Charles  II.,  as  his  limner, 
in  Scotland,  in  1651.  Mr.  Goulding  has  discovered,  in  the 
Public  Record  Office,  an  application  from  Des  Granges 
to  the  King  some  twenty  years  later,  saying  that  there 
was  due  to  him  £76,  and  that  out  of  that  sum  he  had  only 
received  405.  and  £4,  that  he  was  then  old  and  infirm,  that 
his  sight  and  labour  were  failing  him,  so  that  in  consequence 
he  was  disabled  from  getting  "  subsistence  or  livelihood  for 
himself  and  his  children,"  and  that  he  had  to  "  rely  upon 
charity."  In  his  petition  he  prays  the  King  to  relieve  the 
present  necessities  of  himself  and  his  miserable  children, 
and  there  is  a  note  signed  by  the  Master  of  Requests,  dated 
November  nth,  1671,  saying  that  the  Commissioners  of 
the  Treasury  will  take  speedy  and  effectual  course  for 
making  payment.  The  schedule  attached  to  the  petition 
describes  the  thirteen  limnings  Des  Granges  carried  out, 
and  in  it  the  claim  is  for  £72.  A  portrait  of  Charles  II., 
the  work  of  Des  Granges,  and  dated  1651,  is  believed  to 
have  been  one  of  these  mentioned  in  this  schedule, 
and  is  in  the  possession  of  Mrs.  Lee,  at  Hartwell  House. 


92  THE  MINIATURE  COLLECTOR 

His  works  are  to  be  seen  in  the  Royal  collection,  at 
Ham  House,  Madresfield  Court,  Wroxton  Abbey,  and  in 
other  collections.  They  are  generally  signed  with  the 
three  initials  "  D.D.G."  and  sometimes  but  not  always 
are  dated.  They  are  frequently  painted  upon  a  brown 
ground,  although  one  at  Windsor  is  on  a  blue  ground, 
and  another  on  a  background  of  blue  and  white 
clouds,  with  some  trees.  Des  Granges  again  seems  to  have 
had  a  rather  unusual  career,  because,  although  it  is  clear 
that  he  was  baptized  in  the  Huguenot  Church,  and  was 
acquainted  with  George  Heriot,  of  Edinburgh,  James  I.'s 
jeweller,  who  was  a  man  of  similar  faith,  yet  Des  Granges 
did  not  continue  in  the  Huguenot  Church,  but  is  referred  to 
in  1649  by  some  French  Dominicans,  as  "  a  worthy  devout 
member  of  our  Order  "  (probably  a  Tertiary),  and  as  having 
been  sent  over  to  France  to  obtain  some  information  respect- 
ing the  Order,  and  the  sittings  for  some  portraits.  The 
papers  belonging  to  Inigo  Jones  mention  Des  Granges  more 
than  once,  and  in  such  fashion  as  would  infer  that  they  were 
personal  friends.  Certainly,  one  of  the  best  miniatures 
that  Des  Granges  ever  painted  is  the  portrait  which  he 
executed  of  Inigo  Jones.  It  is  now  at  Welbeck  Abbey, 
with  a  repetition  of  it  in  the  collection  of  the  Duke 
of  Devonshire.  The  age  of  Jones  is  inscribed  on  the  por- 
trait as  being  sixty-eight,  and  the  work  is  a  delightful  one, 
while  it  is  quite  possible  that  the  fact  of  both  the  artist 
and  the  architect  being  Catholics  may  have  been  a  link 
which  first  of  all  brought  them  together.  In  any  case, 
this  portrait  in  a  very  interesting  fashion  links  together 
two  notable  men.  Des  Granges  died  in  1675,  and  it  should 
be  mentioned  that  he  was  also  a  painter  in  oil  colours,  and 
is  referred  to  as  such  by  Sanderson  ;  while,  at  Mottisfont 
Abbey,  in  Hampshire,  there  was  quite  a  large  group,  repre- 
senting a  lady  and  child,  signed  by  him  in  full,  and  dated 
1661.  Two  of  his  best  portraits  are  in  the  Rijks  Museum 
at  Amsterdam. 


THE  INTERREGNUM  93 

There  were  two,  if  not  three,  of  the  Beales.  Mary  Beale, 
who  was  a  Miss  Cradocke,  was  on  very  friendly  terms  with 
Lely,  frequented  his  studio,  watched  him  at  work,  and  ap- 
parently used  to  obtain  commissions  for  him,  and  persuade 
her  friends  to  sit  to  the  great  artist.  Of  her  husband 
Charles  we  know  little,  save  that  he  held  some  appoint- 
ment under  the  Board  of  Green  Cloth,  and  is  declared  to 
have  been  a  clever  chemist,  and  skilful  in  the  composition 
of  certain  pigments  which  were  used  by  Lely  and  by  the 
other  artists  of  the  day ;  but  we  are  specially  grateful  to 
Beale  for  the  diaries  he  kept  and  for  the  information  that 
they  contain  respecting  his  wife's  work.  At  one  time,  there 
must  have  been  thirty  of  these  volumes  in  existence,  but 
there  is  only  one  now  available,  that  for  1681,  which  is 
preserved  in  the  National  Portrait  Gallery  Library.  Vertue 
made  considerable  use  of  these  diaries  from  1672,  and  in 
consequence,  from  his  papers,  we  obtain  information  re- 
specting the  work  that  Mrs.  Beale  (Dearest  Hearte,  as  her 
husband  called  her  in  them)  carried  out,  and  the  prices  she 
obtained  for  her  pictures.  She  was  an  able  portrait  painter, 
and  had  an  extensive  clientele,  largely,  says  Mr.  Collins 
Baker,  episcopal,  or  at  least  clerical,  and  she  painted  a  con- 
siderable number  of  repetitions  of  Lely's  works,  some  of 
which,  at  different  times,  have  been  assumed  to  be  the 
works  of  the  greater  artist.  She,  like  her  husband,  was 
interested  in  chemistry,  and  made  many  experiments  and 
much  research  into  the  preparation  of  the  pigments  which 
she  used  ;  she  also  tried  different  kinds  of  canvases.  She 
was  skilful  in  drawing,  and  one  at  least  of  her  own  portraits 
is  in  my  own  collection,  a  clever,  almost  surprising 
piece  of  skilful  portraiture.  The  majority  of  her  larger 
portraits  are  a  little  dull,  and  commonplace,  and  that 
characteristic  must  be  applied  to  her  miniatures,  which 
have  no  special  feature  to  make  them  important. 

Her  son  Charles  painted  better,  as  regards  limnings,  than 
she  did.  He  was  educated  by  Flatman,  and  painted  both  in 


94  THE  MINIATURE  COLLECTOR 


PLATE  XVIII. 
THE   INTERREGNUM. 

1.  Henry   Somerset,    first   Duke  of   Beaufort.     By  Mary   Beale. 

Signed  and  dated  1674. 

2.  The  Duchess  of  Buckingham.     By  Charles  Beale   (Fl    1660- 

1688).     Signed. 
Both  in  the  Collection  of  the  Earl  Beauchamp,  K.G, 


PLATE  XV11I 


THE  INTERREGNUM  95 

oil  and  in  water-colour,  but  suffered  from  weakness  of  the 
eyes,  and  in  consequence  renounced  work  in  1689. 
There  are  several  of  his  studies,  in  red  chalk,  for 
portraits  in  the  British  Museum,  there  are  three  important 
miniatures  by  him  belonging  to  Earl  Beauchamp,  and 
others  in  the  Victoria  and  Albert  Museum,  in  the  Duke  of 
Buccleuch's  collection,  in  the  Royal  collection  and  in  those 
of  the  Duke  of  Newcastle  and  the  Marquess  of  Exeter. 

His  brother,  Bartholomew,  is  also  said  to  have  painted 
miniatures,  but,  after  a  few  years,  he  gave  up  the  pursuit 
of  art,  and  decided  to  take  up  that  of  medicine, 
studying  under  Dr.  Sydenham,  and  eventually  setting  up 
in  his  profession  at  Coventry.  None  of  the  Beales' 
miniatures  are  of  very  common  occurrence.  Mary 
Beale  seems  to  have  painted  many  portraits  in  certain 
families,  and  she  occasionally  produced  limnings  for  the 
same  people  for  whom  she  executed  large  portraits .  Charles 
Beale  does  not  seem  to  have  practised  for  very  long,  Bartho- 
lomew for  a  far  shorter  period,  and  I  know  of  no  miniature 
by  the  latter  artist  about  which  I  can  be  positive.  I  have 
seen  one,  which  appears  to  be  signed  with  a  conjoined 
double  "  B,"  and  which  was  certainly  like  the  work  of 
Mary  Beale,  and  may  have  been  perhaps  executed  by  her 
son,  Bartholomew. 

Mrs.  Beale  died  in  Pall  Mall  about  1704,  according  to 
one  account,  but  according  to  a  more  probable  one,  her 
death  took  place  in  1697,  and  Walpole  tells  us  that  she 
was  buried  under  the  Communion  Table  in  St.  James's 
Church,  but  this  appears  to  be  an  incorrect  statement. 

The  Cradockes  were  closely  connected  with  the  family 
of  George  Fleetwood,  the  regicide,  and  possessed  a  portrait 
of  him  by  Samuel  Cooper,  in  a  blue  enamel  and  gold  frame. 
This  still  exists  and  belongs  to  Mr.  Gery  Milner-Gibson- 
Cullum,  who  is  the  most  recent  and  most  accurate  writer l 

1  See  a  paper  by  Mr.  G.  Milner-Gibson-Cullum  in  the  Proceed- 
ings of  the  Suffolk  Arch.  Soc.,  xvi.  3,  1918. 


96  THE  MINIATURE  COLLECTOR 

upon  Mary  Beale.      It  came  to  him  direct  from  Honoria 
Cradocke. 

It  would  be  quite  impossible,  within  the  space  occupied 
by  this  small  book,  to  refer  to  all  the  painters  of  por- 
traits in  miniature,  but  there  are  one  or  two  men  belong- 
ing to  the  early  part  of  the  eighteenth  century  who  must 
on  no  account  be  overlooked.  The  chief,  perhaps,  amongst 
them,  is  the  man  whom  Walpole  styles  "  Lewis  "  Crosse, 
but  who  appears  really  to  have  been  called  Lawrence 
Crosse,  and  who  possesses  a  double  interest.  He  was 
not  merely  a  painter  of  miniatures,  but  he  was  also  a  col- 
lector, and  he  got  together  a  great  many  miniatures  by 
Oliver,  Hoskins,  and  Cooper.  Walpole  refers  to  them,  and 
tells  us  that  the  collection  was  sold,  by  Crosse  himself,  at 
his  house,  the  Blue  Anchor  in  Henrietta  Street.  The 
combination  of  the  painter  and  the  collector  is  not  a  very 
common  one.  It  betokens  the  existence  of  private  means, 
and  also  of  a  somewhat  greater  interest  in  the  work  of  other 
painters  which,  if  I  dare  say  it,  is  not  always  a  characteristic 
of  artists.  Crosse  appears  to  have  been  a  man  of  very 
broad-minded  sympathy,  and  a  really  serious  admirer 
of  the  art  of  miniature  painting,  so  that  he  was  able  to 
bring  together  quite  a  substantial  collection.  It  is  men- 
tioned more  than  once  in  contemporary  literature.  We  do 
not,  however,  know  for  what  cause  he  decided  to  sell,  nor 
what  sort  of  prices  he  obtained  for  his  miniatures,  and  we  are 
not  even  certain  as  to  the  spelling  of  his  name.  Vertue 
does  not  give  the  final  "  e,"  nor  does  Lens  in  the  MS.  which 
he  wrote  in  1729,  and  in  which  he  refers  to  the  painter, 
and  the  only  two  signed  portraits  with  which  we  are 
acquainted  are  those  which  belong  to  the  Duke  of  Port- 
land and  to  the  Earl  of  Stamford,  and  they  are  inscribed 
by  the  artist  on  the  reverse  "  L.  Cross  f."  On  the  other 
hand,  Walpole  always  speaks  of  him  as  "  Crosse,"  and  the 
name  appears  to  have  been  spelled  in  this  fashion  in  some 
records  that  are  in  existence  concerning  him.  Several  of 


THE  INTERREGNUM  97 

the  miniatures  which  he  collected  were  bought  by  Edward 
Lord  Harley,  in  1722,  at  Crosse's  sale,  and  are  now  in  the 
Welbeck  Abbey  collection.  He  is  at  the  time  of  the  sale 
declared  to  have  been  upwards  of  seventy  years  old,  and 
Walpole  tells  us  that  he  died  in  October,  1724.  He  also 
alludes  to  the  personal  resemblance  that  Crosse  bore  to 
Hoskins,  and  one  wonders  whether  there  was  any  family 
connection  between  the  two  men,  and  whether  that  may 
have  accounted  for  the  interest  Crosse  took  in  the  art  of 
miniature  painting.  His  work  is  very  different  from  that 
of  his  contemporaries,  because  it  is  almost  covered  with 
what  Mr.  Goulding  calls  "  dot-like  stipples."  Some  of 
his  miniatures  are  really  very  beautiful,  and  the  great 
wigs,  which  were  characteristic  of  his  time,  are  painted 
by  him  with  extraordinary  skill,  while  the  lace  ties  that  are 
seen  below  the  chin  are  represented  with  extreme  minute- 
ness of  detail  and  remarkable  skill.  There  are  some 
particularly  good  examples  of  his  work  in  the  Duke  of 
Buccleuch's  collection,  notably  portraits  of  the  Duke  of 
St.  Albans,  the  Earl  of  Dalkeith,  one  which  is  called  Sir 
Edward  Spragge,  and  a  fine  one  of  John  Holies,  Duke  of 
Newcastle.  In  the  same  collection  there  are  also  portraits, 
by  him,  of  the  Duchess  of  Marlborough  and  of  Mary  Hyde, 
Baroness  Conway.  There  are  two  beautiful  examples  of 
his  work  in  the  University  Galleries  at  Oxford,  representing 
Mr.  Pitts  and  Mr.  Danvers.  He  combined  the  two  letters 
forming  his  initials  in  a  very  pleasing  monogram,  which  is 
generally  to  be  found  written  in  gold.  The  other  interest- 
ing circumstance  connected  with  Crosse  is  the  fact  that 
he  it  was,  who  received  instructions,  from  the  then  Marquess 
of  Hamilton,  to  repair  a  damaged  miniature  of  Mary,  Queen 
of  Scots,  and  he  was  ordered  to  make  it  as  handsome  as 
he  could.  "  It  seems,"  says  Walpole,  "  that  a  round  face 
was  his  idea  of  perfect  beauty,  but  happened  not  to  be 
Mary's  sort  of  beauty."  The  actual  miniature  which 
Crosse  repaired  and  touched  up,  was  sold  at  Christie's  in 

H 


g8  THE   MINIATURE  COLLECTOR 


PLATE  XIX. 
THE   INTERREGNUM. 

1.  Christopher  Simpson  (ob.  1669),  violist  and  musical  writer.     By 

Thomas  Flatman  (1637  ?-i688).     Signed. 

In  the  Collection  of  the  Duke  of^Portland,  K.G. 

2.  Prince  Maurice  of  Orange  and  Nassau    (1567-1625).     By  Sir 

Balthazar  Gerbier  (1591-1667).     Signed  and  dated  1619. 
In  the  Collection  of  the  Queen  of  Holland. 

3.  An  Ecclesiastic,   name  unknown.     An  enamel  by  J.   Petitot 

(1607-1691).     Set  in  a  frame  made  by  Gilles  Legare. 
In  the  Collection  of  the  Countess  of  Dartrey. 


PLATE   XIX 


THE  INTERREGNUM  99 

July,  1882,  and  the  oval  countenance  of  the  unhappy 
Queen  had  been  so  entirely  transformed  that  the  portrait 
did  not  resemble  Mary  in  the  least  degree.  However,  it 
was  a  pleasing  head  of  a  woman,  in  black  velvet  trimmed 
with  ermine,  and  it  was  the  original  from  which  number- 
less copies  have  been  made,  and  passed  off  as  genuine 
portraits  of  Mary,  Queen  of  Scots. 

The  other  miniature  painter  who  deserves  special  atten- 
tion at  this  time  was  Bernard  Lens,  one  of  quite  a  number 
of  artists  bearing  that  name.  There  appear  to  have  been 
three  Bernards  in  succession.  The  first  was  the  enamel 
painter,  of  whom  very  little  was  known,  and  who  died,  so 
Walpole  tells  us,  on  February  5th,  1708,  aged  seventy- 
seven,  and  was  buried  in  St.  Bride's,  leaving  behind  him 
four  or  five  MS.  volumes  of  "  Collections  on  Divinity,"  which 
afterwards  found  a  place  in  the  library  at  Strawberry 
Hill.  He  had  a  son,  the  second  Bernard,  the  mezzotint 
engraver,  who  was  born  in  London,  in  1659,  an<^  wno  Pu^~ 
lished,  in  connection  with  Sturt  (who  engraved  the  illustra- 
tions to  a  wonderful  Book  of  Common  Prayer),  a  broadside 
prospectus  of  their  drawing  school  in  St.  Paul's  Church- 
yard, a  copy  of  which  is  now  to  be  seen  in  the  British 
Museum.  It  set  forth  in  florid  style,  the  value  and  im- 
portance of  drawing,  and  recommended  engineers,  mechan- 
ics and  professional  men  to  enter  their  names  as  pupils 
of  the  classes  which  were  being  carried  on.  A  son  of  this 
second  Bernard  was  Bernard  Lens,  the  miniature  painter, 
who  was  born  in  1662,  and  died  in  1740.  He  was  an 
accomplished  drawing  master,  no  doubt  trained  at  his 
father's  school  in  St.  Paul's  Churchyard.  Amongst  other 
persons,  he  taught  Horace  Walpole  himself,  and  he  bears 
eloquent  testimony  in  his  pages  to  the  "  virtues  and  inte- 
grity of  so  good  a  man,  as  well  as  an  excellent  artist."  Lens 
also  taught  the  Duke  of  Cumberland  and  Princesses  Mary 
and  Louisa,  and  Mr.  Goulding  has  found  out  that  he 
taught  Edward  Harley,  afterwards  second  Earl  of  Oxford, 


ioo  THE  MINIATURE  COLLECTOR 

and  in  a  letter  referring  to  the  classes,  the  latter  states 
that  Lens'  fee  was  a  guinea  entrance,  and  half-a-crown  for 
an  hour's  instruction,  and  that  he  was  prepared  to  "  come 
two  or  three  times  in  a  week."  He  is,  in  this  letter,  spoken 
of  as  a  "  sober,  diligent  man,  and  very  careful."  He  was 
drawing  master  at  Christ's  Hospital,  and  was  the  author  of 
a  "  New  Complete  Drawing  Book,"  which  was  not  pub- 
lished until  after  his  death ;  it  was  a  very  popular  work, 
and  contains  some  sixty-two  plates,  etched  by  him,  with 
full  instructions  for  etching  and  for  mezzotint  work.  After 
a  while,  he  retired  from  the  active  exercise  of  his  profession, 
and  had  two  sales  of  the  drawings,  miniatures  and  pictures 
which  he  had  collected. 

He  had  three  sons.     For  the  elder,  Walpole  secured  an 
excellent  position  in  his  own  office  in  the  Exchequer,  and 
the  two  younger,  Andrew  Benjamin  Lens  and  Peter  Paul 
Lens,  were  both  skilful  artists  in  miniature.     The  elder 
Lens   possessed  the  delightful  habit  of  putting  inscrip- 
tions  at   the   back   of  his   miniatures.     Many   of  them 
are  very  fully  inscribed.    He  copied  various  portraits, 
specially  works  by  Cooper,  and  was  careful  to  note  that 
they  were  his  copies,  and  when  he  had  executed  them ;  and 
on  many  of  his  miniature  paintings  he  expressly  stated 
where  he  had  executed  the  work.     There  are  two  fine  por- 
traits by  him  in  existence,  one  in  the  collection  at  Welbeck 
Abbey,  another  in  the  University  Galleries  at  Oxford,  and 
on  the  last  he  has  carefully  recorded  the  setting  of  his  own 
palette,  and  done  it  so  well  that  one  is  able  to  identify  the 
colours,  and  see  what  exceedingly  good  pigments  he  was 
in  the  habit  of  using.     There  are  several  of  his  works  at 
Welbeck  Abbey,  and  what  is  more,  he  carried  out  for  his 
pupil,  when  he  became  Earl  of  Oxford,  several  commis- 
sions, both  for  painting  special  miniatures,  and  for  framing, 
and  Mr.  Goulding  has  discovered  many  of  his  bills,  having 
distinct  reference  to  the  work  which  he  carried  out,  and 
notably  to  the  frames  which  he  designed  and  executed  for 
his  patron's  portraits. 


THE   INTERREGNUM  101 

The  most  notable  point  to  make  respecting  Lens  is 
that  he  appears  to  have  been  responsible^for  the  introduc- 
tion of  ivory  as  a  suitable  material  on  which  miniatures 
might  be  painted.  There  are  fifteen  of  his  works  on  ivory 
in  the  Welbeck  collection,  and  there  are  eight  in  the  col- 
lection at  Ickworth  Park  belonging  to  the  Marquess  of 
Bristol,  not  all  of  them  representing  persons  of  Lens'  own 
period,  but  many  of  them  copies  of  other  portraits,  all 
well  executed,  with  a  certain  amount  of  dignity,  and  care- 
fully inscribed  on  the  reverse.  He  also  seems  to  have 
altered  a  portrait  of  Mary,  Queen  of  Scots,  and  to  have 
copied  a  portrait  of  the  same  Sovereign.  Mr.  Goulding 
discovered  that  Lord  Oxford  introduced  Lens  to  the  Earl 
of  Pomfret,  that  he  might  copy  a  picture  concerning  Mary, 
Queen  of  Scots,  and  Walpole  speaks  of  his  drawing  the 
portrait  of  a  lady  in  the  dress  that  had  been  worn  by  Mary, 
Queen  of  Scots,  and  of  her  complaining  that,  although  the 
costume  resembled  that  of  the  unhappy  Sovereign,  Lens 
was  not  painting  the  lady,  as  she  had  desired  to  be  painted, 
like  the  Queen.  To  this  the  artist  seems  to  have  made 
reply.  "  No,  madam,  if  God  Almighty  had  made  your 
ladyship  like  her,  I  would."  There  are  three  delightful 
examples  of  the  work  of  Lens  in  the  possession  of  Lord 
Spencer,  at  Althorp,  and  there  are  others  in  the  possession 
of  the  Duke  of  Devonshire,  Earl  Beauchamp  and  Earl 
Brownlow. 

Of  Lens '  two  younger  sons  we  do  not  know  much .  Andrew 
Benjamin  Lens  drew  an  exceedingly  good  portrait  of  Jacob 
Tonson,  the  publisher,  and  his  portraits  of  himself,  his  wife 
and  his  daughter,  purchased  from  his  great-niece,  are  in 
my  own  possession.  Peter  Paul  Lens  painted  an  interest- 
ing portrait  of  his  mother,  which  was  in  the  Wellesley  col- 
lection. He  was  an  odd  creature,  a  life  member  of  a  strange 
Irish  club  called  "  The  Blasters,"  and  Mr.  Strickland  tells 
us  that  he  was  declared  a  votary  of  the  devil,  and  that 
warrants  were  issued  in  Ireland  for  his  arrest  on  charges 


102  THE  MINIATURE  COLLECTOR 

of  blasphemy,  that  he  escaped  to  England,  and  was  not 
captured. 

In  the  possession  of  the  Newdegate-Newdigate  family  at 
Arbury,  there  were  several  works  by  Peter  Paul  Lens, 
miniatures  and  paintings  in  oil.  He  signed  his  works  in 
two  or  three  different  ways,  sometimes  with  a  single  "  P," 
and  sometimes  with  a  double  one,  occasionally  with  a  mono- 
gram composed  of  all  three  letters.  When  he  died,  the 
revival  of  the  art  in  the  early  part  of  the  eighteenth  century 
was  coming  into  pre-eminence,  and  to  some  of  the  lesser 
men  who  belonged  to  that  revival,  I  shall  have  occasion 
to  refer  in  a  succeeding  chapter. 


CHAPTER  VIII 

RICHARD  COSWAY,   R.A. 


THE  collector  must  be  prepared  to  find  not  merely 
that  every  fine  miniature  of  the  eighteenth  cen- 
tury is  attributed  to  Cosway,  but  that  a  por- 
trait by  Cosway  is  a  rarity,  and  a  thing  very  difficult  to 
obtain. 

During  many  years  when  miniatures  were  regarded  as 
of  but  little  account,  the  name  of  Cosway  was  the  only 
one  that  had  survived,  and  it  was  used  indiscriminately. 

Plimer  was  practically  unknown ;  Engleheart  fared 
little  better ;  Smart  and  Grimaldi  had  been  quite  over- 
looked ;  but  the  beauty  and  charm  of  the  work  of  Cosway, 
and  the  eccentricities  of  his  much-advertised  life,  had 
caused  his  name  to  be  remembered,  and  every  old  lady 
who  had  a  miniature  of  her  grandmother  said  it  had 
certainly  been  painted  by  Cosway.  It  was  really  Dr. 
Propert  and  Mr.  Jeffery  Whitehead  who  revived  the  love 
of  miniatures,  and  Dr.  Propert  was  the  first  to  investigate 
their  history  in  his  sumptuous  book  about  them,  published 
in  1887,  and  to  produce  definite  information  of  value 
respecting  them. 

Even  he,  knew  hardly  anything  of  Plimer,  and  but  little 
of  many  of  the  others,  and  what  he  said  of  them  was 
not  always  accurate.  His  notes  concerning  Cosway, 
although  generally  correct,  do  not  go  very  far,  and  it 
has  thus  been  left  for  those  who  followed  him  to  search 

103 


104  THE  MINIATURE  COLLECTOR 

out  the  details  concerning  these  painters,  and  to  publish 
them. 

It  will  be  readily  granted  that,  from  their  own  special 
point  of  view,  the  miniatures  by  Cosway  are  the  most 
wonderful  creations  of  eighteenth-century  miniature  art. 

Those  by  Smart  are  greater  works  of  art  in  that  the 
modelling  is  more  perfect,  and  the  draughtsmanship  more 
accurate  and  true.  Miniatures  by  Engleheart  are  often 
grander  in  dignity  and  possess  a  more  interesting  colour 
scheme  ;  and  there  are  other  men,  such  as  Hill  and  Ozias 
Humphry,  Andrew  Robertson  and  Grimaldi,  who  painted 
miniatures  at  times  that  are  quite  in  the  front  rank  ; 
but  for  all  that,  Cosway  takes  the  premier  place,  even 
though  his  portraits  are  sometimes  marked  only  by  their 
dexterity  and  their  brilliance. 

Cosway 's  works  have,  as  has  been  well  said,  "  the 
excellencies  as  well  as  the  defects  of  his  age." 

Ozias  Humphry  said  of  him  that  he  "  inclined  more  to 
the  neat,  the  graceful  and  the  lovely,  than  towards  the 
serene,  the  dignified  and  the  stern  "  ;  and  this  is  a  true 
criticism.  Cosway 's  miniatures  are  not  dignified  portraits, 
and  they  are  never  stern,  nor  realistic,  but  they  are  always 
charming  and  graceful. 

He  was  really  the  first  miniature  painter  who  realised 
the  beauties  and  advantages  that  lay  in  the  use  of  ivory. 
No  one  before  Cosway  had  properly  appreciated  the  charm 
of  its  brilliant  surface,  or  the  exquisite  transparent  effects 
that  could  be  obtained  upon  it ;  and  once  these  advantages 
were  accepted,  he  made  use  of  them  to  the  full. 

He  was  a  very  skilful,  although  not  an  accurate  draughts- 
man, but  a  great  part  of  the  charm  of  his  portraits  lies 
in  the  exquisite  fashion  in  which  the  picture  is  placed 
upon  the  ivory,  like  a  bit  of  gossamer  that  has  been  blown 
into  position,  poised  in  the  air  and  allowed  to  drop  upon 
the  ivory.  In  brush-work  Cosway  was  marvellously 
dexterous,  and  his  effects  were  attained  with  great  rapidity  ; 


RICHARD  COSWAY,   R.A.  105 

but  dexterity  did  not  mean  carelessness,  and  rapidity 
of  action  never  implied  thoughtless  work.  Brilliantly 
flippant  much  of  his  painting  is,  but  strong  in  intention, 
exquisite  in  taste,  and  perfect  in  finish.  Moreover,  Cosway 
was  almost  the  one  artist  of  his  day — Ozias  Humphry 
being  the  only  one  who  approached  him,  and  he  not  of 
set  intention — in  realising  the  supreme  merits  of  what 
may  be  termed  an  unfinished  miniature,  a  sketch  upon 
ivory  in  which  the  eyes  and  other  leading  features  are 
completed  in  full  portraiture,  the  hair  put  in  in  masses, 
but  the  draperies  merely  suggested,  the  tone  of  the  ivory 
itself  supplying  all  that  was  required  in  the  high  lights, 
and  being  left  in  its  natural  charm  to  give  the  effect  of 
the  flesh.  Except  Humphry,  no  one  but  Cosway  could, 
by  a  few  clever  strokes,  cause  this  ivory  to  assume 
the  roundness  and  delicacy  of  the  flesh,  and  by  just 
drifting  upon  it,  so  to  speak,  a  few  perfect  lines  that 
depicted  the  eyes  and  mouth,  nose  and  chin,  could 
cause  it  to  be  transformed  into  a  living  portrait.  It  is 
difficult  to  describe  in  mere  words  the  effect  of  this  skill. 
Let  the  unfinished  portraits  of  the  Duchess  of  Devon- 
shire and  Princess  Amelia  in  the  King's  collection, 
and  the  one  of  Madame  Du  Barry  in  the  J.  P. 
Morgan  collection,  speak  for  themselves.  All  that  was 
necessary  has  been  given  in  these  superb  sketches — the 
likeness  is  there,  complete  in  every  way,  but  in 
economy  of  line  and  in  amazing  skill  there  was  no  one 
who  could  possibly  rival  the  artist.1 

Cosway  worked  almost  invariably  upon  a  clear  blue  and 
cloudy  background,  largely  composed  of  a  brilliant  ultra- 
marine blue  flecked  with  clouds  of  flake  white  and  cream. 
This  he  adopted  for  almost  all  his  finest  works,  and  the 
colour  of  the  blue  is  an  almost  sure  mark  of  his  handling. 
Another  point  to  be  borne  in  mind  regards  his  treatment 

1  One  of  the  most  beautiful  Cosway  miniatures  in  existence 
belongs  now  to  Capt.  H.  W.  Murray,  of  Winchester. 


io6  THE  MINIATURE  COLLECTOR 


PLATE  XX. 

RICHARD  COSWAY,  R.A. 

(1742-1821). 

1 .  George  Prince  of  Wales,  afterwards  Prince  Regent,  in  fancy  dress. 

In  the  Collection  of  Mr.  J.  Pierpont  Morgan. 

2.  Henrietta  Scott,  afterwards  Duchess  of  Portland. 

In  the  Collection  of  the  Duke  of  Portland,  K.G. 

3.  Madame  Du  Barry  (1746-1793).     Painted  in  London  in  1791. 

At  one  time  in  the  possession  of  Miss  Caroline  Vernon, 
and  later  on  of  Col.  G.  A.  Vernon,  of  Harefield.  Now  in 
the  Collection  of  Mr.  J.  Pierpont  Morgan. 


PLATE   XX 


RICHARD  COSWAY,   R.A.  107 

of  hair.  It  is  never  dry,  wiry  and  hard,  as  is  the  hair 
painted  by  Plimer,  nor  is  it  so  full  of  colour  nor  so  rich  as 
that  in  Engleheart's  portraits,  but  it  is  drawn  in  masses, 
in  wash ;  rather  than  in  lines,  in  detail ;  and  is  light,  easy 
and  free,  with  delicate  lines,  almost  resembling  pencil 
drawn  upon  the  wash-work:  producing  a  delightful  effect 
and  one  which,  once  recognised,  is  an  unmistakable  feature 
of  the  master's  work. 

Something  must  be  said  of  Cosway's  career,  and  of  that 
of  his  clever  wife,  who  was  equally  well  known  with  him 
in  the  social  circles  about  the  Prince  Regent. 

Cosway  was  a  Devonshire  boy,  born  probably  at  Okeford, 
near  Bampton,  in  1742,  for  there  he  was  baptized  in  that 
year.  His  father  was,  at  the  time  of  his  birth,  headmaster 
of  Blundell's  School,  Tiverton,  and  there  Cosway  was  edu- 
cated and  brought  up.  He  seems  to  have  been  an  only  son, 
coming  of  a  family  originally  Flemish,  and  some  of  his 
relatives  owned  considerable  property  in  the  town  of 
Tiverton,  one  especially,  who  lived  at  Coombe- Willis  and 
who  possessed  some  good  pictures,  being  a  source  of 
great  attraction  to  the  artist  in  his  early  school-days. 

His  uncle,  who  was  Mayor  of  the  town,  and  his  godfather,, 
one  Oliver  Peard,  a  trader  in  the  town,  finding  out  his 
artistic  abilities,  persuaded  the  elder  Cosway  to  let  the 
boy  go  to  London  for  lessons,  and  promised  to  sustain 
him  there.  This  happened  when  he  was  less  than  twelve 
years  of  age,  so  precocious  was  he  ;  for  in  January,  1755,, 
it  was  young  Cosway,  "  then  under  fourteen  years  old," 
so  goes  the  entry  in  the  books,  who  gained  the  very  first 
prize  ever  offered  by  the  newly-founded  Society  of  Arts, 
and  who  followed  it  two  years  later,  and  again  in  1758 
and  1759,  by  carrying  off  other  money  prizes  offered  by 
the  same  generous  Society.  Futhermore,  in  1760,  he 
captured  a  still  more  important  trophy,  carrying  off,  as 
the  entry  tells  us,  "  in  a  most  triumphant  manner,  and 
with  a  drawing  of  the  highest  possible  merit,"  the  prize 


io8  THE  MINIATURE  COLLECTOR 

of  Thirty  Guineas  offered  for  a  drawing  of  the  living 
figure  by  young  men  under  twenty- four  years  of  age. 
Small  wonder,  then,  that  Cosway,  having  more  than 
justified  all  expectations,  was  sent  to  Thomas  Hudson's 
studio,  and  thence  to  Shipley's  Drawing  School,  and 
determining,  as  he  himself  writes,  "  to  be,  some  day,  the 
greatest  artist  in  London,"  was  able  very  soon  to  take 
engagements  on  his  own  account.  Thus,  in  1760,  when 
only  eighteen  years  old,  he  commenced  to  exhibit  his 
portraits,  and  continued  to  do  so  down  to  1806,  a  period 
of  nearly  half  a  century.  He  was  one  of  the  earliest 
Associates  of  the  Royal  Academy,  and  in  1771  became  a 
full  Royal  Academician,  but  his  supreme  success  dated 
from  the  moment  when  the  Prince  Regent  took  notice 
of  him,  admired  a  portrait  he  had  painted  of  Mrs.  Fitz- 
herbert,  and  condescended  to  sit  himself  to  the  artist 
for  his  portrait.  Cosway  then  suddenly  became  one  of 
the  most  popular  artists  of  the  day,  and  left  his  home  in 
Berkeley  Street  (or  Berkeley  Row  as  it  was  then  called), 
to  which,  in  1781,  he  had  brought  his  bride ;  for  a  more 
sumptuous  dwelling  in  Pall  Mall,  and  in  Schomberg  House 
he  and  Mrs.  Cosway  lived  in  great  splendour.  There  it 
was  that  Mrs.  Cosway  started  her  evening  concerts  which, 
especially  on  Sunday  evenings,  were  among  the  most 
popular  reunions  of  the  day,  and  are  often  alluded  to  in 
contemporary  correspondence,  notably  in  the  letters  of 
Georgiana,  Duchess  of  Devonshire,  and  in  those  of  Horace 
Walpole.  It  was  at  this  time  that  Cosway  was  able  to 
give  full  play  to  his  passion  for  fine  dress  and  admiration. 
"  I  have  seen  him,"  says  J.  T.  Smith,  "  at  the  elder  Christie's 
picture  sales,  full-dressed  in  his  sword  and  bag,  with  a 
small  three-cornered  hat  on  the  top  of  his  powdered 
toupee,  and  a  mulberry  silk  coat  profusely  embroidered 
with  scarlet  strawberries."  Needless  to  say,  he  was 
ofttimes  caricatured,  and  as  the  "  Macaroni  Miniature 
Painter,"  as  "Tiny  Cosmetic,"  or  as  "  Billy  Dimple,"  he 


RICHARD   COSWAY,   R.A.  109 

was  criticised  and  satirised,  many  a  clever  print  of  the 
day  representing  him  in  conspicuous  costume,  gorgeous 
in  colour  and  style. 

Angelo  tells  an  amusing  anecdote  illustrating  the  painter's 
vanity. 

On  one  occasion,  at  the  Royal  private  view,  the  President, 
Reynolds,  was  ill  with  the  gout  and  unable  to  be  present 
to  receive  the  Prince  of  Wales,  who  came  as  the  representa- 
tive of  his  father.  Cosway,  to  his  great  joy,  was  appointed 
to  act  for  Sir  Joshua,  and  he  received  the  Prince,  says 
Angelo,  "in  a  dove-coloured  suit,  silver  embroidered 
Court  dress,  with  sword,  bag,  wig  and  chapeau  bas.  He 
followed  the  royal  party  through  all  the  apartments, 
uttering  a  hundred  high-flown  compliments.  When  the 
Prince  retired,  the  grand  little  man  attended  him  to  the 
carriage,  and,  in  the  presence  of  the  crowd,  retreated 
backwards  with  measured  steps,  making  at  each  step 
a  profound  obeisance,  when,  sad  to  relate,  his  sword  got 
between  his  legs,  and  he  was  suddenly  prostrate  in  the 
mud.  '  Just  as  I  anticipated.  Oh  !  ye  gods  !  '  exclaimed 
the  Prince  as  he  drove  away." 

It  should  be  mentioned,  as  showing  Cosway's  love  of 
carrying  a  sword,  that  in  Zoffany's  painting  of  the 
Academicians,  no  one  but  Cosway,  save  the  President 
himself,  is  depicted  wearing  a  sword.  Cosway  stands 
in  the  right  corner  of  the  picture,  grandly  dressed  with 
lace  ruffles,  sword  and  tall  cane. 

In  1791,  the  painter  left  Pall  Mall  and  settled  in  Stratford 
Place,  first  in  the  corner  house,  then  No.  I,  and  lately 
No.  21  ;  and  then  some  three  months  afterwards  in*  a 
house  two  doors  further  up  the  street,  now  called  No.  20. 
The  reason  for  his  sudden  change  was  as  follows.  The 
first  residence  had  then,  and  until  very  lately,  still  possessed 
a  stone  lion  erected  on  its  exterior  pediment,  and  this 
object  at  once  attracted  the  attention  of  Peter  Pindar, 
the  cruel  satirist  of  the  day,  who  wrote  the  oft-quoted  lines 


no  THE  MINIATURE  COLLECTOR 

which  some  reckless  person  affixed  to  the  door  of  Cosway's 
new  residence : — 

"  When  a  man  to  a  fair  for  a  show  brings  a  lion 
'Tis  usual,  a  monkey  the  signpole  to  tie  on  ! 
But  here  the  old  custom  reversed  is  seen, 
For  the  lion's  without  and  the  monkey's  within." 

Poor,  susceptible  Cosway,  who,  Smith  tells  us,  "  was, 
although  a  well-made  little  man,  certainly  very  like  a 
monkey  in  the  face,"  was  horrified  at  the  lampoon, 
sacrificed  his  lease  and  moved  two  doors  further  up  the 
street. 

Here,  in  his  new  premises,  he  allowed  his  love  of  display 
full  opportunity. 

He  filled  his  rooms  with  wonderful  and  costly  treasures  ; 
had  his  furniture  covered  in  magnificent  Genoa  velvet  ; 
collected  splendid  examples  of  rare  porcelain,  armour, 
rock  crystal,  bronzes  and  Persian  rugs  ;  and  was  so  pleased 
with  the  effect  of  it  all  that  he  extended  his  purchases 
and  obtained  fine  pictures,  drawings,  miniatures  and  prints. 
Indeed,  he  was  not  at  all  averse  to  combining  the  occupation 
of  a  dealer  in  works  of  art  with  the  scarcely  less  lucrative 
employment  of  a  popular  portrait  painter. 

Smith,  in  his  "  Life  of  Nollekens,"  gives  a  gorgeous 
account  of  Cosway's  rooms  when,  at  the  zenith  of  his 
popularity,  he  lived  and  entertained  like  a  prince. 

Possessed,  by  this  time,  of  ample  means,  he  prepared 
to  travel,  and  did  it  in  grand  style/ taking  with  him  to 
Paris  both  carriages  and  servants,  and  while  there  presented 
to  the  Louvre,  to  hide  "  the  bareness  of  its  walls,"  a 
magnificent  series  of  cartoons  by  Giulio  Romano  which 
had  come  into  his  possession.  For  this  gift  he  refused 
any  acknowledgment,  presenting  to  the  Prince  of  Wales 
four  rich  pieces  of  Gobelin  tapestry,  that  had  been  at 
once  placed  at  his  disposal  in  return  for  his  gift. 

I  must  not  here  continue  the  story,  which  is  set  out 


RICHARD  COSWAY,   R.A.  in 

elsewhere,1  but  it  suffices  to  say  that  this  career  of 
splendour  could  not  last,  and  presently  the  estrangement 
that  took  place  between  the  artist  and  his  royal  patron 
produced  an  alteration  in  his  circumstances  ;  and  then, 
to  cloud  his  later  years,  there  followed  mental  disorder  of 
a  grave  order,  hallucinations,  mysticism,  and  eventually 
paralysis.  Finally,  he  left  Stratford  Place ;  his  superb 
possessions  were  sold,  and  realised,  for  the  day,  high  prices  ; 
the  artist  and  his  wife  moved  into  Edgware  Road,  into 
"  a  tiny  but  very  cosy  "  house,  and  on  July  4th,  1802, 
when  out  for  a  drive  with  a  friend,  Cosway  had  a  final 
stroke  of  paralysis,  and  died  in  the  carriage  before  he 
arrived  home. 

Mrs.  Cosway  was  a  certain  Maria  Hadfield,  a  Catholic 
girl,  born  in  Florence,  and  brought  to  England,  as  a 
youthful  prodigy  in  art,  at  the  earnest  solicitation  of 
Angelica  Kaufmann,  who  had  a  great  admiration  for  her 
genius.  She  was  patronised  by  Charles  Towneley,  the 
connoisseur,  and  at  his  house  met  Cosway,  whom  she 
married  in  1781 ;  Angelica,  Towneley  and  Thomas  Banks, 
R.A.,  all  being  present  at  the  ceremony.  There  was  but 
one  child,  Louisa  Paolina  Angelica,  and  she  died  at  the 
age  of  six.  Mrs.  Cosway  had  frequently  been  in  France 
and  Italy  during  her  husband's  lifetime,  and  after  his 
death  she  decided  to  make  her  home  in  the  latter  country, 
and  founded  a  College  at  Lodi,  near  Milan,  for  the  education 
of  girls. 

This,  eventually,  she  handed  over  to  a  religious  order, 
known  as  the  Institute  of  the  Blessed  Virgin  Mary,  or  in 
Italy  as  the  Dame  Inglesi,  and,  attaching  the  buildings 
(which  she  bought  and  altered)  to  the  Church,  which  was 
close  at  hand,  she  herself  entered  the  Order  and  endowed 
it  with  her  fortune.  In  1834,  the  Emperor  Francis  I. 
visited  the  buildings,  expressed  entire  satisfaction  with 

1  See  for  all  further  details  the  two  books  I  have  written  on 
Richard  Cosway  1897  and  1905. 


H2  THE  MINIATURE  COLLECTOR 


PLATE  XXI. 

RICHARD  COSWAY,  R.A. 

(1742-1821). 

1.  Mrs.  Parsons  (n&e  Huff). 

At  one  time  in  the  possession  of  Mrs.  C.  J.  Pakenham 
Lawrell,  and  now  in  the  Collection  of  Mr,  J.  Pierpont 
Morgan. 

2.  The  two   children   of   William,    fifth    Duke   of    Devonshire — 

Georgiana,  afterwards  Countess  of  Carlisle,  and  Harriet,  after- 
wards Countess   of  Granville/ 

At  one  time  in  the  Collection  of  the  Honourable  Blanche 
Pitt. 


PLATE   XXI 


RICHARD  COSWAY,   R.A.  113 

them,  and  created  the  munificent  Founder,  a  Baroness 
of  the  Empire.  Many  similar  honours  were  eventually 
bestowed  upon  her,  and  the  scholastic  establishment  she 
founded  continued  to  increase,  becoming  a  very  prosperous 
and  popular  institution. 

In  these  buildings  the  Baroness  Cosway  lived  till  the 
time  of  her  death,  which  took  place  on  January  5th,  1838, 
and  she  lies  buried  in  a  vault  under  the  nuns'  chapel. 

The  buildings  still  exist,  and  testify  to  her  generosity 
and  wisdom ;  while  the  quaint  interior  decoration  in  the 
dining-room,  which  she  caused  to  be  carried  out,  enshrines 
a  memorial  tablet  to  her  beloved  husband,  whose  memory 
she  never  ceased  to  cherish.  Many  of  her  own  artistic 
works  and  a  goodly  number  of  Cosway's  drawings,  with 
his  books  and  papers,  formed  part  of  her  gift  to  the  house  ; 
but  access  to  the  building  is  impossible,  and  none  of  its 
contents  can  be  seen  or  disturbed.  A  full  account  of  them 
will  be  found  in  the  Memoirs  already  alluded  to.  Her  own 
work  was  not  specially  interesting,  and  partook  too  freefy 
of  the  sentimental  and  pseudo-classical  spirit  that  was 
popular  in  her  day.  She  copied  some  of  her  husband's 
works  with  some  success,  but  lacked  the  strength,  virility 
and  charm  that  he  possessed  to  a  superlative  degree. 

It  remains  to  say  that  Cosway  was  a  clever,  although 
lamentably  inaccurate  draughtsman,  and  that  he  has  left 
behind  him  many  fine  pencil  portrait  drawings,  in  which 
the  faces  and  hands  are  tinted,  in  miniature  fashion ;  as  well 
as  many  skilful  drawings  of  a  classical  or  religious  character. 
Some  of  these  are  signed  in  full ;  others  with  the  small  "  R  " 
inside  the  big  "  C,"  which  formed  his  monogram.  His 
miniatures,  with  three  exceptions,  are,  so  far  as  I  know 
(and  I  have  examined  scores  of  them),  never  signed  on 
the  face,  but  on  the  back,  in  a  grand  and  pompous  manner, 
an  example  of  which  appears  as  an  illustration  overleaf. 

Of  the  three  signed  on  the  face,  one  bore,  in  addition, 
the  pompous  signature  on  the  reverse  ;  another — a  portrait 


THE  MINIATURE  COLLECTOR 


of  Kitty  Clive— is  signed  "  R.C.,"  and  dated  1755  (and 
there  is  just  a  possibility  that  this  is  not  by  Cos  way  at 
all,  but  by  Richard  Collins)  ;  while  the  third  is  a  work 
resembling  an  enamel,  and  was  probably  an  experiment 
which  the  artist  desired  to  mark  in  a  distinctive  fashion. 
His  signature  on  correspondence  in  English  possession 
is  practically  confined  to  one  letter,  one  order,  and  one 


note  for  payment  of  ground  rent — all  were  in  the  Wellesley 
collection ;  but,  somewhere  in  Ireland,  probably  in  a 
religious  house,  there  should  exist  a  box  full  of  his  letters 
and  papers  which  were  gathered  up  by  his  wife  in  order 
that  a  memoir  of  him  might  be  written,  and  then  lost 
by  the  relative  of  her  own  into  whose  hands  she  committed 
their  custody. 


RICHARD  COSWAY,   R.A.  115 

Some  of  the  artist's  papers  and  deeds,  and  his  diploma 
as  a  Royal  Academician,  together  with  that  of  Mary 
Moser,  R.A.,  with  whom  at  one  time  he  had  intimate 
relations,  are  still  preserved  in  Italy,  and  have  all  been 
seen  and  examined  by  me.  One  of  his  sketch-books  also 
still  remains.  Specimens  of  his  ivories,  colours,  brush, 
playing-cards  and  paper  have  been  given  by  me  to  the 
Royal  Academy,  and  rest  in  its  library. 


CHAPTER  IX 

ANDREW  AND   NATHANIEL  PLIMER. 


r*  •  \HE  two  chief  rivals  to  Cosway  as  the  miniature 
painters  of  the  day  were  Andrew  Plimer  and 

M  George  Engleheart.  George  Engleheart,  as  we 
shall  see  later,  was  painter  to  the  King,  while  Cosway 
was  chiefly  concerned  about  the  court  and  entourage  of 
the  Prince  Regent,  and,  therefore,  they  did  not  come 
into  so  sharp  a  competition  as  did  Cosway  and  Plimer. 
Andrew  Plimer  was  at  one  time  Cos  way's  pupil,  but  he 
soon  grew  to  become  a  rival,  and  often  some  members 
of  the  same  family  had  their  portraits  painted  by  Cosway, 
while  others  went  to  Plimer.  The  results  have  been  a 
little  curious,  for,  although  Plimer's  work  differs  materially 
from  that  of  Cosway,  yet  it  has  been  labelled  frequently 
with  his  name,  and  there  are  many  miniatures  by  Plimer 
which  even  now  are  attributed  by  their  owners  to  the 
greater  artist. 

Andrew  Plimer,  the  son  of  a  clockmaker  at  Wellington, 
was  born  in  1763  ;  Nathaniel,  his  elder  brother,  in  1757. 
There  is  a  flavour  of  romance  connected  with  their  early 
story.1  They  were  brought  up  as  clockmakers,  but  much 
disliking 2  the  business,  they  ran  away  and  joined  a  party 

1  I  endeavoured  to  gather  up  all  the  information  available  con- 
cerning him  and  his  brother  in  a  book  which  was  published  on 
"  Andrew  and  Nathaniel  Plimer "  in  1903.  It  contains  illus- 
trations of  a  very  large  number  of  his  works,  including  some  of  his 
clever  drawings  in  pencil,  larger  paintings  in  oil,  and  of  the  big  effec- 
tive coloured  drawings  which  he  did  towards  the  close  of  his  life. 

*  "  Misliking  "  they  called  it. 

116 


ANDREW  AND  NATHANIEL  PLIMER       117 

of  gipsies  with  a  menagerie,  and  wandered  about  with 
them  in  their  caravans  for  many  months/gradually  drawing 
nearer  to  London.  While  with  the  gipsies,  they  are  said 
to  have  painted  scenery  for  a  village  play,  and  to  have 
decorated  the  fronts  and  sides  of  the  menagerie  vans  with 
figures  of  animals  and  men,  which  were  so  satisfactory 
that  the  gipsies  begged  them  to  remain  with  them,  promising 
them  every  favour,  and  the  hands  of  two  of  the  prettiest 
girls  of  their  tribe  for  their  wives.  During  this  period, 
it  is  said  that  they  made  their  own  brushes  from  bristles 
and  horsehair,  and  the  hair  of  the  various  animals  in  the 
menagerie  ;  compounded  their  own  colours  from  various 
plants  ;  and,  indeed,  did  not  hesitate  to  steal  decorators' 
paints  in  the  towns  which  they  passed.  This  went  on  for 
a  couple  of  years.  They  wandered  first  through  Wales  and 
Western  England,  and  then  at  last  came  to  Buckingham, 
when  they  washed  from  their  faces  the  walnut  juice  with 
which  previously  they  had  stained  them,  wrapped  up 
their  possessions  into  two  red  and  yellow  shawls,  deserted 
their  gipsy  friends,  and  marched  on  into  London.  There, 
they  were  at  one  moment  nearly  starving,  but  eventually 
received  some  money  from  their  parents,  and  at  once 
commenced  to  take  lessons  in  drawing.  Eventually, 
Nathaniel  entered  the  employ  of  Henry  Bone,  the  enameller, 
as  an  assistant,  and  Andrew  became  personal  servant  to 
Cosway,  in  order  to  be  near  to  the  painter.  He  was  engaged 
as  studio  boy  in  Berkeley  Street,  and  was  set  to  clean  the 
studio  and  to  grind  and  mix  the  colours.  He  pleased 
Mrs.  Cosway,  however,  by  his  determination  and  his 
good  manners,  and  she  employed  him  to  announce  callers, 
and  to  assist  her  at  her  parties.  A  few  days  after  the 
Cosways  had  moved  into  Schomberg  House,  the  artist 
detected  young  Plimer  trying  to  copy  one  of  his  miniatures, 
and  found  he  did  it  so  well  that  he  sent  him  off  to  an 
engraver,  who  was  probably  John  Hall,  where  he  had 
further  tuition.  In  1783,  he  was  back  with  the  Cosways 


n8  THE  MINIATURE  COLLECTOR 


PLATE  XXII. 
ANDREW  AND  NATHANIEL  PLIMER. 

1.  Rebecca,  wife  of  John,  first  Lord  Northwick,  and  mother  of 

"  The  Three  Graces,"  the  three  Misses  Rushout. 
In  the  Collection  of  Mr.  J.  Pierpont  Morgan. 

2.  Mrs.  Ker,  of  Blackshiels  (1784). 

In  the  Collection  of  Miss  Ker. 


PLATE  XXI 


ANDREW  AND  NATHANIEL  PLIMER       119 

at  Schomberg  House,  and  there  he  remained,  probably 
in  company  with  his  brother,  who  is  said  by  this  time  to 
have  left  Bone's  studio,  and  for  a  year  at  least  he  took 
some  lessons  from  Cosway,  and  also  copied  many  of  his 
miniatures.  "  Andrew  will  be  my  Elisha,"  said  Cosway 
on  one  occasion  ;  adding,  with  a  characteristic  touch  of 
vanity,  "  if  I  am  not  constrained  to  carry  my  mantle 
up  to  Paradise  with  me."  In  1785,  Plimer  started  on  his 
own  account,  setting  up  his  studio  in  Great  Maddox  Street, 
now  called  Maddox  Street,  and  afterwards  resided  in 
Golden  Square,  in  two  separate  houses,  first  at  No.  3,  and 
then  at  No.  8. 

He  married  in  February,  1801,  a  Miss  Knight,  a  member 
of  an  old  Northamptonshire  family,  the  wedding  taking 
place  at  Wicken,  in  Northamptonshire,  and  Richard 
Cosway  and  his  wife,  Jeremiah  Meyer,  R.A.,  with  another 
Academician  whose  name  is  unknown,  went  down  to  the 
little  country  place  in  a  post-chaise  to  be  present  on  the 
interesting  occasion.  He  had  five  children,  four  daughters 
and  a  boy ;  the  latter  died  when  quite  a  child ;  and  of 
the  four  children,  only  the  eldest  one,  Louisa,  married, 
her  husband  being  a  certain  Dr.  John  Scott,  of  Edinburgh. 
Mrs.  Plimer  survived  all  her  family  save  the  eldest  daughter, 
at  whose  house  she  died,  in  1861,  at  the  age  of  eighty- 
eight.  The  happy  couple  do  not  seem  to  have  had 
time  for  a  honeymoon,  but  in  the  following  August 
they  went  away  for  a  while  together,  and  a  portion  of 
the  diary  of  Mrs.  Plimer,  kept  on  that  occasion,  is  still  in 
existence. 

A  few  years  later,  Plimer  was  living  at  Exeter,  in  a 
house  a  few  doors  above  St.  Sidwell's  Church,  and  while 
there  was  regarded  as  a  somewhat  proud  and  reserved 
man,  who  would  very  seldom  allow  his  four  handsome 
girls  to  associate  with  the  neighbours,  and  kept  himself 
very  much  apart  from  those  near  to  him.  In  1818,  he  was 
back  again  in  town,  and  then  living  in  Upper  York  Street, 


120  THE  MINIATURE  COLLECTOR 

Montagu  Square  ;  but  a  couple  of  years  later,  he  started 
to  travel  about  in  pursuit  of  work,  leaving  his  wife  and 
children  at  home,  probably  in  London.  We  hear  of  him 
at  Reading,  at  Brighton,  in  Devonshire,  Cornwall  and 
Dorsetshire,  in  Wales  and  in  Scotland.  He  was  very 
successful ;  had  as  much  work  as  he  could  possibly  carry 
out ;  and  he  spent  the  last  two  years  of  his  life  in  Brighton, 
where  he  died  in  January,  1837,  at  the  age  of  seventy-four. 
He  was  buried  at  Hove.  He  left  behind  him  a  substantial 
fortune,  which  went  to  his  widow  for  her  life,  and  was 
divided,  at  her  decease,  between  his  heirs. 

Of  his  brother  Nathaniel  we  are  not  able  to  say  quite 
as  much.  He  resided  in  Great  Marlborough  Street  in 
1787.  After  that,  he  was  to  be  found  in  Maddox  Street ; 
then  at  81,  New  Bond  Street  ;  and  eventually  at  13, 
Paddington  Street  ;  and  he  is  said  to  have  died  in  1822. 
We  do  not  know  the  name  of  his  wife,  but  he  had  four 
daughters,  one  of  whom  married  the  artist  Andrew 
Geddes,  a  clever  portrait  painter  and  able  etcher,  and  had 
a  family.  He  is  declared  to  have  been  a  man  of  very  high 
temper,  giving  way  at  times  to  serious  outbursts  of  violence, 
but  beyond  these  few  detached  facts,  we  have  nothing 
definite  concerning  Nathaniel  Plimer's  life  and  career  as 
an  artist. 

The  elder  brother  does  not  seem  to  have  painted  many 
miniatures,  and  the  majority  of  those  he  carried  out  are 
small  in  size.  A  few  of  them  are  far  finer  in  quality 
than  are  the  works  of  Andrew  Plimer,  but  most  of  them 
rank  distinctly  below  those  of  his  younger  brother,  both  in 
point  of  beauty  and  quality  of  portraiture. 

Andrew  Plimer's  works  were  based  distinctly  on  those 
of  Cosway  ;  the  backgrounds  adopted  by  the  two  painters 
are  very  similar  :  as  a  rule,  a  charming  combination  of 
blues  and  greys,  with  a  somewhat  cloudy  effect,  the  blue 
being  that  keen,  ultramarine  blue  which  Cosway  so 
constantly  used.  Some  of  Plimer's  miniatures,  however, 


ANDREW  AND  NATHANIEL  PLIMER       121 

are  painted  on  a  very  dark  background  of  foliage  and 
trees,  but,  generally  speaking,  the  background  is  composed 
of  blues,  whites  and  greys.  Two  special  features  characterise 
his  works  ;  the  first  is  with  regard  to  the  eyes  of  the 
sitters,  especially  those  of  the  ladies,  who  sat  to  him. 
His  own  daughters  had  very  large  and  remarkable  eyes, 
full  of  expression,  and  he  so  frequently  painted  portraits 
of  his  girls  that  he  seems  gradually  to  have  surrendered 
himself  to  the  charm  of  these  very  expressive  and  brilliant 
eyes,  giving  them  to  many  of  his  sitters.  They  are  almost 
always  of  unusually  large  size,  a  little  showy  in  their 
flaunting  beauty,  and  having  a  trifle  of  an  effect  of  the 
Society  beauty  who  has  doctored  her  eye  by  the  use  of 
belladonna.  Then  again,  with  regard  to  the  hair,  he  never 
represented  it  in  masses,  as  did  Cosway,  but  in  lines, 
each  hair  being  clearly  delineated  in  a  somewhat  hard 
and  rigid  style.  There  is  far  more  cross-hatching  in  the 
faces,  and  especially  in  the  shadows  of  the  neck  and 
shoulders,  than  was  the  case  with  the  work  of  Cosway  ; 
and,  moreover,  he  was  exceedingly  fond  of  the  white 
muslin  gowns  so  often  worn  in  his  day,  which  were  open 
at  the  breast  and  neck,  and  are  hardly  more  than  bands 
on  the  shoulders,  almost  the  whole  of  the  neck  and  arm 
being  revealed.  It  can  hardly  be  that  all  the  girls  painted 
by  Plimer  wore  these  gowns,  but  clearly  he  preferred  to 
delineate  them  in  that  costume,  and  he  gave  them  full 
expressive  eyes,  a  perfect  mouth,  a  long  neck,  and  a  snowy 
bosom,  and  in  this  way  produced  an  effect  approaching 
monotony  in  his  general  work.  Some  of  the  loveliest  of 
his  portraits  were  those  of  his  own  children,  and  Mrs. 
Plimer,  whose  portrait  he  painted  on  many  occasions, 
must  herself  have  been  a  remarkably  beautiful  woman, 
while  her  youngest  child,  Joanna,  was  possessed  of  unusual 
charm  and  distinction.  Few  of  his  paintings  are  more 
beautiful  than  a  large  portrait  of  Joanna  Plimer,  which 
still  belongs  to  the  family,  and  a  small  one  of  her  elder 


122  THE  MINIATURE  COLLECTOR 

sister,  Selina,  represented  in  childhood,  as  a  cherub,  and 
almost  equally  lovely,  is  in  my  own  possession. 

Plimer  was  rather  given  to  painting  groups,  and   the 

celebrated  one,   representing  the  three  Ladies  Rushout, 

known  as   "  Three    Graces,"  is  perhaps  his  best-known 

work,  a  miniature  which  has  done  more  than  any  other 

to  make  his  name  popular.    In  his  early  days  he  painted 

very  small  miniatures,  and  a  group  of  five,  representing 

different  members  of  the  Clayton  family,  in  the  collection 

oi  Lord  Aberdare,  show  his  work  at  its  very  best.    Later 

on,  he  liked  to  paint  large  miniatures,  especially  groups 

•of  three  persons,  such  as  the  group  of  the  Affleck  daughters, 

:and  one  of  the  three  daughters  of  John  Simpson,  of  Bradley 

Hall,  Durham,  and  other  large  ones.    The  miniatures  are 

exceedingly  effective,  and  look  well  in  a  collection,  but 

Plimer  was  not  a  good  draughtsman.    In  fact,  it  must  be 

said  that,  as  a  rule,  he  was  most  inaccurate  in  that  respect, 

although'  his  male  portraits  are  generally  drawn  better 

than  those  of  the  women.     His  smaller  miniatures  are 

certainly  the  more  beautiful ;    the  larger  ones  are  showy 

and  effective — monotonous,  as  I  have  already  said  ;   and 

a  collection  of  miniatures  by  Plimer  is  thus  rather  tiring 

to  examine. 


CHAPTER  X 

GEORGE  ENGLEHEART 


IN  the  previous  chapter  I  have  said  that  Engleheart 1 
must  be  regarded  as  one  of  Cosway's  rivals,  but  as  a 
matter  of  fact,  they  catered  for  two  different  classes 
in  society.  The  smart  and  perhaps  the  more  flippant  people 
went  to  Cosway  or  to  Plimer,  who  were  the  popular  artists 
in  the  Court  of  the  Prince  Regent.  The  more  seriously 
inclined  sat  to  Engleheart.  He  painted  George  III.  more 
than  twenty-five  times,  and  executed  portraits  of  many 
other  members  of  the  Royal  Family,  while  his  fee-book, 
which  is  still  in  existence,  includes  the  names  of  notable 
people  of  the  day  who  represented  most  of  the  great  families 
of  England. 

His  principal  work  was  done  between  1775  and  1813, 
and,  according  to  his  note-books,  during  that  time  he 
painted  nearly  5,000  miniatures.  His  earnings  on  the 
average  were  about  £1,200  a  year,  rising  in  his  best  year, 
1788,  up  to  £2,200,  and  falling  in  the  very  worst  of  these 
thirty  years  to  £800. 

As  regards  this  fee-book,  it  may  be  interesting  to  point 

1  In  conjunction  with  a  member  of  the  Engleheart  family,  I 
gathered  together  in  1902  all  the  available  information  concerning 
this  painter,  represented  a  large  number  of  his  miniatures  as  the 
illustrations,  and  also  gave  facsimiles  of  some  of  the  documents 
relating  to  his  career.  The  same  book  contains  a  complete  list  of  his 
sitters,  extracted  from  his  fee-book. 

123 


124  THE  MINIATURE  COLLECTOR 

out  how  exceedingly  important  it  is  in  connection  with  the 
life  of  Engleheart.  It  gives  a  complete  list  of  all  the  por- 
traits he  painted  in  each  year,  together  with  the  dates  upon 
which  they  were  painted,  the  names  of  the  persons  who 
paid  for  them,  and  the  amounts  which  were  received,  and 
page  by  page  is  carefully  reckoned  up,  so  that  we  know 
exactly  how  many  portraits  he  executed  during  the  given 
period,  and  precisely  how  much  cash  he  received  for  them. 
At  the  end  of  the  year,  he  makes  a  still  further  balance 
sheet.  The  total  number  of  miniatures  which  he  produced 
between  1775  and  1813  runs  up  to  the  astonishing  figure 
of  4,853  in  all.  Some  years  he  was  very  busy  ;  for  example, 
in  1788,  he  painted  228  miniatures ;  in  1783  and  in  1786, 
208  ;  in  1790,  192,  and  then  his  figures  vary  from  about  150 
down  to  about  80,  the  average  being  100  more  or  less 
portraits  per  annum.  By  1804,  the  numbers  began  to 
diminish.  In  that  year  and  in  1810,  he  only  painted  74 
pictures.  In  1812,  he  painted  70  ;  in  1813,  only  30,  and  the 
entries  cease.  His  prices  varied  in  somewhat  similar 
fashion.  In  1775,  he  had  from  three  to  four  guineas,  and 
the  following  year,  from  four  to  five.  In  1777,  he  charged 
the  King  ten  guineas,  other  people  six ;  then  in  1780,  he 
started  at  five  guineas,  in  the  following  year  his  minimum 
price  was  six,  and  by  1788,  he  had  risen  to  eight  guineas, 
and  then  he  goes  on  slowly  increasing  his  prices,  until  in 
1803  he  has  from  twelve  to  fifteen  guineas,  in  1809  from 
fifteen  to  seventeen  guineas,  in  1811  from  eighteen  to  nine- 
teen guineas,  and  during  the  last  two  years  of  his  work  from 
twenty  to  twenty-five  guineas. 

The  King's  portrait  Engleheart  painted  many  times, 
thrice  in  1777,  three  times  in  the  following  year,  and  five 
times  in  1783.  Then  he  painted  the  King  twice  again  in 
1784,  four  times  in  1785,  three  times  in  1786,  five  times  in 
1787,  and  twice  in  1788,  and  we  find  notes  of  his  having 
executed  portraits  of  the  Princess  Dowager  of  Wales,  the 
Prince  of  Wales,  and  Princess  Augusta  as^  well.  He  also 


GEORGE  ENGLEHEART  125 

painted  the  Queen  several  times,  the  Duchess  of  Wurtem- 
burg,  the  Duke  of  Sussex  and  others. 

Furthermore,  there  are  many  curious  scraps  of  family 
history  recorded  in  this  fee-book,  all  of  importance  to  the 
student  of  social  life  of  the  time. 

Another  very  interesting  feature  of  Engleheart's  work 
is  the  fact  that  the  careful  preservation  of  his  pigments 
and  appliances  has  enabled  us  to  know  exactly  what  colours 
he  used,  and  indeed  to  set  out  his  palette  just  as  he  himself 
set  it. 

He  himself  was  wise  enough  in  his  prosperity,  to  invest 
his  savings  in  property  in  London,  mostly  in  what  is  now 
known  as  Mayfair,  and  when  in  1812  he  retired  with  an 
ample  fortune,  he  was  sure  of  a  steady  income  for  the  rest 
of  his  life,  and  his  careful  investments  have  been  of  great 
value  to  those  who  have  come  after  him,  and  who  have 
reaped  the  benefit  of  his  discretion. 

He  came  of  a  talented  family,  and  one  especially  of  his 
ancestors  was  a  Court  artificer,  a  very  able  modeller 
in  plaster,  and  many  of  the  wonderful  ceilings  at  Hamp- 
ton Court  Palace  owe  their  beauty  to  the  skill  with 
which  he  practised  his  handicraft.  He  settled  down 
close  to  the  Royal  domain  at  Kew,  and  married  the  daughter 
of  its  Vicar,  while  his  sister-in-law  became  the  wife  of  a 
certain  John  Dillman,  who  was  responsible  for  laying  out 
the  original  gardens  of  Kew  Palace. 

Engleheart's  brother,  Thomas,  was  a  worker  in  wax, 
and  the  dainty  portraits  that  he  produced,  carved  in  this 
most  fragile  material,  appear  at  least  twenty  times  in  the 
Royal  Academy  catalogues.  Other  members  of  the  family 
became  engravers,  and  several  were  artists,  but  George 
Engleheart  was  the  only  one  who  attained  any  great 
eminence.  At  the  beginning  of  his  life,  he  was  a  pupil  of 
George  Barret,  R.A.,  and  then  he  passed  into  the  studio  of 
Sir  Joshua  Reynolds.  The  influence  Reynolds  had  upon 
him  was  very  marked,  and  a  whole-hearted  affection  grew 


126  THE  MINIATURE  COLLECTOR 

up  between  the  two  men.  The  President  allowed  Engle- 
heart  to  copy  in  miniature  many  of  his  own  fine  oil  paint- 
ings ;  and,  in  fact,  to  some  of  these  miniature  copies,  we  owe 
all  the  information  we  possess  regarding  some  lost  pictures 
by  Sir  Joshua,  and  also  respecting  the  appearance  of  the 
President's  pictures  when  they  were  first  completed. 

Engleheart  began  to  exhibit  at  the  Royal  Academy  when 
he  was  still  with  Reynolds.  In  1775,  he  started  on  his  own 
account,  and  then  commenced  the  long  career,  during  which 
he  became  not  only  one  of  the  leading  miniature  painters 
of  the  day,  but  also  one  of  the  most  prolific.  In  July, 
1813,  yielding  to  the  persuasion  of  his  friends,  he  gave  up 
the  pursuit  of  portrait  painting,  and  retired  to  a  country 
house,  at  Bedfont.  Eventually  he  moved  to  Blackheath, 
where  he  died  in  1829,  in  his  seventy-eighth  year,  and  was 
buried  at  Kew,  close  to  his  friend  Jeremiah  Meyer  and  his 
contemporaries  and  acquaintances  Gainsborough  and 
Zoffany.  Even  after  he  had  retired,  he  did  not  entirely 
relinquish  work,  and  several  miniatures  are  in  existence, 
which  are  dated  later  than  1813 ;  two  of  them  especially, 
which  bear  the  dates  1816  and  1818,  are  as  well  painted  as 
anything  he  ever  did.  Fortunately,  his  descendants  have 
kept,  not  merely  his  fee-book,  papers,  letters  and  sketches, 
but  a  large  number  of  his  miniatures,  and  the  appliances 
he  used,  his  desk,  brushes,  palettes  and  pigments,  so  that 
we  know  more  of  the  life  and  career  of  George  Engleheart 
than  of  any  other  miniature  painter. 

The  characteristic  of  his  work  is  its  absolute  downright 
truth.  There  is  no  monotony  about  it,  there  is  nothing 
extravagant  or  meretricious,  but  his  portraits  have  a  simple 
dignity,  a  straightforward  character,  and  give  the  impres- 
sion that  they  are  accurate  representations  and  not 
idealised.  The  workmanship  is  very  different  from  that 
of  Cosway  ;  it  does  not  possess  the  sparkle  and  glitter,  the 
brilliance  and  the  fascination  of  his  miniatures.  For, 
indeed,  graceful  painting,  lightness  of  touch,  exquisite 


GEORGE  ENGLEHEART  127 

transparency  of  colour,  and  the  liquid  quality  of  the  tender 
gradations  of  tone,  are  the  characteristics  of  Cosway,  and 
are  entirely  different  from  the  main  features  of  the  work  of 
Engleheart.  Engleheart's  portraits  are  distinguished  by 
careful  drawing  and  rich  colouring,  and  they  possess  a 
certain  intellectual  force  in  the  expression.  There  is  none 
of  that  vapid  over-pleasant  look  that  marks  some  of  the 
portraits  by  Cosway  and  by  Plimer ;  one  never  sees  the 
smirk  of  a  foolish  mind,  or  the  evidence  of  a  weak  and 
trivial  attention.  Engleheart  found  out  whatever  was 
good  about  the  face  of  the  sitter,  whatever  intellectual 
force  there  was  in  the  character,  and  he  set  it  down ;  and 
amongst  all  the  crowd  of  eighteenth-century  miniatures 
his  works  stand  out  as  those  most  definitely  marked  by  the 
impress  of  truth,  and  at  the  same  time  invariably  pleasing 
in  character  and  meritorious  in  colour.  He  was  very 
careful  about  his  pigments,  and  we  know  exactly  what  he 
used,  and  how  well  he  tested  them  with  a  view  to  their 
permanence.  He  had  a  love  for  fine  colour,  and  he 
appreciated  a  splendid  costume,  or  a  rich  velvet  coat, 
and  set  himself  to  carefully  represent  it.  The  elaborate 
hats  of  some  of  his  girl  sitters  are  exquisitely  fashioned, 
and  he  seems  to  have  taken  an  interest  in  the  costume 
of  the  person  who  was  to  sit  to  him,  so  that  one  seldom 
sees  any  of  his  sitters  robed  in  unbecoming  fashion. 
The  costume  was  always  suitable  to  the  age  or  position  of 
the  person  who  was  wearing  it.  His  miniatures  are  often 
signed  in  full  on  the  reverse,  and  in  many  instances  he 
added  the  date  and  his  address  to  the  signature. 
Others  are  signed  on  the  face,  low  down  on  the  right  side  as 
it  faces  the  spectator,  with  the  single  letter  "  E,"  formed  in 
easy  flowing  curves,  a  script  "E  "  and  not  a  square  one. 
A  few  of  his  miniatures  have  "  G.E."  entwined,  and  one 
certainly  has  "  G.E."  in  two  separate  square  letters,  this 
particular  miniature  being  further  authenticated  by  the 
usual  signature  in  ink  on  the  reverse.  Once  carefully 


I28  THE  MINIATURE  COLLECTOR 


PLATE  XXIII. 

GEORGE   ENGLEHEART. 
(1750-1829.) 

1.  A  Gentleman.     Signed. 

In  the  Collection  of  an  anonymous  collector. 

2.  Anne,  daughter  of  Thomas  Fisher,  and  afterwards  wife  of  Francis 

Jack  Needham,  who  in  1818  (after  her  decease)  succeeded 
as  1 2th  Viscount  Kilmorey,  and  in  1822  became  Earl  of  Kil- 
morey. 

3.  Frances,  daughter  of  Thomas  Fisher,  and  wife  of  Henry  Pigot, 

her  first  cousin,  afterwards  Sir  Henry  Pigot. 

Both  the  above  were  at  one  time  in  the  possession  of  Gen. 
Sir  George  Higginson,  G.C.B.,  and  are  now  in  the  Col- 
lection of  Mr.  J.  Pierpont  Morgan. 


PLATE   XXIII 


GEORGE  ENGLEHEART  129 

examined,  Engleheart's  work  should  easily  be  detected, 
and  his  portraits  of  men  are  particularly  fine  in  a  certain 
simple,  quiet  dignity  which  they  possess.  His  women's 
portraits  often  represent  the  sitters  in  vivacious  fashion. 
There  are  a  few  examples  in  which  a  husband  and  wife  are 
depicted  together  in  profile,  and  towards  the  latter  end  of 
his  life,  he  executed  some  large  drawings,  in  which  the 
drapery  is  only  very  slightly  indicated,  and  all  the  main 
attention  is  given  to  the  face.  His  copies  after  Sir  Joshua 
Reynolds  are  of  considerable  importance  and  value  from 
the  point  of  view  of  art  students. 

Engleheart  had  two  pupils.  One  was  John  Cox  Dillman 
Engleheart,  and  the  other  was  his  distant  connection, 
Thomas  Richmond.  J.  C.  D.  Engleheart  went  to  his 
uncle's  studio  in  1798,  and  after  a  while  set  up  a  studio  of 
his  own  in  Newman  Street,  Oxford  Street,  removing  later 
on  first  into  Berners  Street,  then  into  Upper  Berkeley 
Street,  and  again  into  Cavendish  Square.  He  exhibited 
about  160  works  at  the  Royal  Academy,  but  when  he  was 
about  forty-four  years  old,  his  health  entirely  broke  up, 
he  had  to  relinquish  his  profession,  and  he  travelled  about 
for  some  time  on  the  Continent.  On  his  return,  he  settled 
down  at  Tunbridge  Wells,  where  he  died  in  1862,  at  the 
age  of  seventy-eight. 

His  works  are  very  different  from  those  of  his  uncle, 
and,  moreover,  he  had  not  the  advantages  either  of  costume 
or  coiffure  which  belonged  to  his  uncle's  period.  His 
colouring  was  far  hotter  than  was  that  of  George  Engle- 
heart, and  much  more  fanciful,  but  he  was  able  sometimes 
to  paint  a  simple  straightforward  portrait  thoroughly 
well.  Even  then,  the  gorgeous  backgrounds  he  loved 
so  much  and  his  dark  rich  colouring,  itself  a  straining  after 
the  effect  of  oil  painting,  destroyed  the  charm  and  distinc- 
tion that  belong  to  his  uncle's  work.  The  best  portrait 
he  ever  painted  was  one  of  Sheridan.  He  was  a  very  skilful 
draughtsman  with  the  pencil,  and  occasionally  his  pencil 

X 


130  THE  MINIATURE  COLLECTOR 

drawings  are  to  be  found,  and  are  always  worth  while 
acquiring. 

Richmond  was  the  father  of  two  able  sons,  Thomas 
Richmond  the  younger  and  George  Richmond,  R.A.  There 
were  other  members  of  the  family  who  were  talented,  both 
in  drawing  and  painting  :  Henry,  George  Engleheart's  son, 
being  a  skilful  architectural  draughtsman,  and  Nathaniel 
and  George,  who  were  Engleheart's  grandsons,  having  been 
responsible  for  some  wonderful  delineations  of  the  form  and 
colouring  of  some  English  moths.  Probably  no  artists 
ever  reproduced  so  perfectly  the  exquisite  daintiness  of 
some  of  the  smaller  moths  in  all  their  extreme  minute 
beauty  than  did  these  two  clever  entomologists.  So 
successful  were  they  in  handling  the  brush  that  they  were 
able  to  paint,  under  each  moth,  its  full  name  and  the  in- 
formation respecting  it,  in  beautiful  square  characters, 
that  are  still  as  perfect  as  though  they  were  printed, 
instead  of  having  been  painted  with  a  tiny  brush. 


CHAPTER  XI 

JOHN   SMART 


THE  noblest  and  most  dignified  miniatures  of  the 
eighteenth    century   were    undoubtedly   those 
painted  by  John  Smart.     This  is  not  to  say  that 
they  are  the  most  fascinating,  nor,  perhaps,  those  which 
will  the  most  readily  be  appreciated.     Smart's  work  needs 
to  be  understood  before  it  can  be  properly  admired,  and  at 
the  first  glance  the  ordinary  collector  will  be  more  ready 
to  exult  over  the  brilliant  work  of  Cosway  ;   the  flippant, 
flaunting  beauty  of  the  work  of  Plimer,  or  the  solid,  gran- 
diose;  dignity  of  the  portraits  by  Engleheart.     On  more 
careful  examination,  however,  it  will  be  found  that  no 
miniatures  are  so  well  worthy  of  study  as  are  those  of  John 
Smart,  and  I  think  it  will  then  be  granted  that  the  words 
noble  and  dignified  which  I  have  used  concerning  them,  are 
justified.     Moreover,  in  dealing  with  Smart,  we  have  to  do 
with  an  extremely  accurate  draughtsman,  whose  work,  in 
consequence,  is  exceedingly  satisfactory  from  that  point  of 
view.     Again,  we  have  a  man  who  had  evidently  studied 
the  anatomy  of  the  human  face  with  great  care  and  close 
diligence,  because  no  faces  are  represented  on  miniatures 
of  the  eighteenth  century  with  such  skill  and   accuracy, 
as  are  those  depicted  by  John  Smart.     It  was  wisely  said 
by  John  Russell,  R.A.,  to  one  of  his  pupils,  that  the  most 
important  duty  of  a  portrait  painter  was  to  learn  thor- 
oughly all  that  was  to  be  known  about  anatomy,  and  then 

131 


132  THE  MINIATURE  COLLECTOR 

to  forget  it,  and  the  value  of  the  advice  will  be  appreciated 
when  a  few  moments'  consideration  is  given  to  the  state- 
ment. The  knowledge  must  be  there,  the  artist  must  know 
where  the  bones  of  the  structure  have  their  place,  how  they 
are  covered  by  the  flesh,  how  the  muscles  act  and  reac 
both  on  the  bones  and  on  the  flesh  structure,  the  position 
of  the  great  centres  of  nervous  energy,  the  contours  of  the 
flesh  with  all  that  they  mean  in  representing  that  which 
lies  under  them,  and  then,  when  this  information  is  acquired 
almost  with  a  surgical  accuracy,  the  harder  and  more 
technical  details  must  be  banished  from  the  mind,  and  the 
knowledge  itself  must  constitute  a  power  by  which  proper 
delineation  can  be  guided,  and  must  not  be  forced  in  any 
way  beyond  what  is  absolutely  necessary  and  true.  Such 
was  the  manner  of  John  Smart.  We  may  feel  certain  that 
the  old  story  that  he  was  intended  at  first  for  a  surgeon 
must  have  had  some  basis  of  solid  fact.  We  do  not  know 
who  his  father  was  ;  it  is  possible  that  he  may  himself  have 
been  a  medical  man,  or  a  surgeon.  It  is  merely  a  rumour 
that  John  was  to  be  brought  up  to  the  surgical  profession  ; 
but  the  more  one  looks  into  his  miniatures,  the  more  one  is 
convinced  that  the  man  who  painted  them  had  a  thor- 
oughly sound  knowledge  of  the  human  body,  for  the  bony 
structures  are  never  misplaced,  the  faces  and  shoulders  are 
never  inaccurately  given,  the  hollows  of  the  neck  and 
bosom,  with  all  their  subtle  modelling,  are  perfectly  ren- 
dered, and  when  a  shadow  falls,  it  falls  exactly  in  the  right 
place,  and  from  exactly  the  right  position,  so  that  the 
portraits  painted  by  John  Smart  are  just  perfect  representa- 
tions of  the  faces  and  figures  of  the  sitters. 

We  know  but  very  little  about  the  history  of  Smart,  and 
we  would  fain  know  a  great  deal  more  about  the  man  who 
must  be  considered  as  the  chief  miniature  painter  of  the 
eighteenth  century,  notwithstanding  the  reputation,  the 
brilliance,  and  the  fascination  of  Cosway  or  the  solid  worth 
of  Engleheart.  We  do  know  that  he  was  born  in  Norfolk 


JOHN   SMART  133 


at  some  small  village  near  to  Norwich,  on  May  1st,  1740, 
and  that  he  died  on  the  anniversary  of  the  same  day 
seventy  years  afterwards.  He  came  from  the  country 
whence  sprang  Cotman  and  Croome  and  the  later  successors 
of  that  famous  Norwich  school,  but  he  appears  to  have  come 
to  London  very  early  in  life,  before  he  was  fourteen,  and 
perhaps  for  the  surgical  training  already  alluded  to.  In 
J755  he  gained  a  prize  from  the  Society  of  Arts  in  one  of 
their  earliest  competitions,  and,  oddly  enough,  divided  the 
premium  with  Cosway,  whose  acquaintance  he  perhaps 
made  at  that  time.  Cosway  produced  a  Head  of  one  of 
the  Virtues  done  in  chalk,  Smart  an  Academy  Figure  in 
pencil,  and  both  of  them  were  said  to  be  under  fourteen 
years  old  at  the  time. 

He  followed  up  this  success  by  taking  off  another  prize 
in  1757,  and  yet  another  in  1758.  Then  he  seems  to  have 
become  a  pupil  of  an  English  miniature  and  subject  painter, 
one  Daniel  Dodd,  of  whom  also  we  know  practically  no- 
thing, save  that  he  was  a  member  of  the  Free  Society  of 
Artists,  and  that  he  painted  two  large  groups,  one  repre- 
senting a  Royal  procession  to  St.  Paul's,  and  another  a 
meeting  of  the  Royal  Academy,  neither  of  which  can  at 
present  be  traced. 

From  Dodd's  studio,  Smart  migrated  to  St.  Martin's 
Lane  Academy,  and  then,  in  early  days,  began  to  exhibit 
with  the  Incorporated  Society  of  Artists,  later  on  becoming 
a  Director  and  then  a  Vice-President  of  the  Society. 
Furthermore,  we  know  that  he  married  one  Edith  Vere,  and 
that  he  resided  at  4,  Russell  Place,  Fitzroy  Square. 

When  working  amongst  the  papers  of  Cosway,  at  the 
convent  founded  by  his  wife,  I  was  able  to  ascertain,  for 
the  first  time,  that  Smart  was  for  a  while  a  pupil  of  Cosway, 
although  there  was  only  one  year's  difference  in  their 
respective  ages.  Curiously  enough,  no  miniature  painter 
of  his  day  shows  less  sign  of  following  the  habit,  or  the 
colouring,  or  the  style  of  Cosway  than  does  Smart,  and  I 


134  THE  MINIATURE  COLLECTOR 


PLATE  XXIV. 

JOHN   SMART 
(c.  1740-1811). 

1.  Sarah  Tyssen  (1756-1790).     Signed  and  dated. 

In  the  Collection  of  the  Rev.  R.  A.  J.  Suckling. 

2.  The  Infant  Son  of  John  Smart. 

At  one  time  in  the  possession  of  Mr.  E.  M.  Hodgkins. 

3.  Called   a  portrait   of  Maria   Cosway,    dated    1784.      M.C.    on 

reverse.     Signed. 

Formerly  in  the  Collection  of  Mr.  George  Salting. 


PI.ATK   XXIV 


JOHN   SMART  135 


am  inclined,  therefore,  to  believe  that  the  pupilage  must 
have  lasted  a  comparatively  short  time.  Oddly  enough, 
Cosway  himself  seems  to  have  appreciated  Smart's  work, 
and  yet  the  miniatures  painted  by  the  younger  man  are  so 
dissimilar  from  those  of  Cosway  that  one  is  almost  sur- 
prised to  find  that  the  Academician  admired  the  work  of 
his  pupil.  Moreover,  Cosway  was  not  given  to  praising 
the  work  of  others.  He  valued  himself  far  too  highly  to  do 
so,  and  he  used  to  look  down,  with  something  approaching 
contempt,  upon  the  artists  who  were  his  rivals  and  con- 
temporaries. He  would,  of  course,  notice  that  Smart's 
miniatures  lacked  the  brilliance  and  sparkle  which  he  was 
able  to  put  into  his  own  pictures,  that  they  were  infinitely 
more  serious,  sombre,  etc.,  quiet ;  and  so  it  was  that  in  two  of 
his  letters  to  his  wife  he  unites,  with  his  praise  of  Smart's 
work,  curious  pieces  of  criticism,  which  a  comparison 
of  the  miniatures  painted  by  the  two  men  enables  one  to 
understand.  "  Honest  John's  faces,"  he  says  in  one 
letter,  "  are  still  not  round  enough  to  my  liking,  but  after 
a  few  days,  I  will  get  him  to  my  way  of  thinking."  "  Faith- 
ful John,"  he  says  in  another,  "  hard  at  work  as  ever,  he 
fain  will  be  great  and  methinks  he  is,  as  he  takes  such  pains 
and  care  albeit  he  is  slow  and  a  bit  washy."  And  then 
finally,  "  John  Smart's  women  are  too  stiff  still,  but  I  like 
his  portraits  with  all  my  heart."  "  Stiff  "  is  perhaps  a 
charge  that  may  with  some  justification  be  applied  to 
Smart's  work.  There  is  a  certain  formality  and  demureness 
about  his  sitters.  "  Washy  "  is  almost  the  last  word  one 
would  apply  to  them,  but  perchance  Cosway  means  that 
the  colouring  was  thin  and,  in  his  estimation,  a  little  poor, 
not  possessing  the  richness,  and  the  showy  brilliance,  of  his 
own.  In  other  notes  Cosway  calls  him  "  Honest  John 
Smart  "  and  "  Good  little  John,"  and  therefore  we  imagine 
that  he  was  a  person  of  short  stature,  probably  also  of 
very  simple  habits,  and  this  can  be  understood  with  greater 
accuracy  when  we  learn  that  he  belonged  to  a  curious  and 


136  THE   MINIATURE  COLLECTOR 

little-known  religious  sect  called  Glassites  or  Sandemanians. 
This  sect  is  known  almost  entirely,  because  Michael  Faraday 
was  one  of  the  adherents  to  its  special  tenets.  It  was 
composed  of  persons  who  held  very  simple  religious  views, 
a  little  eccentric  in  some  special  features,  but  characterised 
by  great  devoutness  of  feeling,  a  careful  adherence  to  the 
teaching  of  Holy  Scripture  as  understood  by  themselves, 
a  marked  simplicity  of  ritual,  and  an  intense  attachment  to 
the  dictates  of  conscience  and  the  regulations  of  duty. 
Faraday  himself,  in  addressing  one  who  had  been  a  favourite 
pupil,  cut  off  intentionally  the  pleasure  of  further  corre- 
spondence with  this  man,  because  he  felt  sure  that  such 
correspondence  tended  to  unsettle  the  person  to  whom  it 
was  addressed,  and  to  lead  him  himself  to  attach  a  greater 
importance  to  some  of  his  discoveries  while  narrating  them 
to  another,  than  he  considered  a  simple  Christian  man 
should  do.1  The  Sandemanians  were  not  people  of  high 
education,  nor  perhaps  even  of  great  culture,  and  they 
belonged  for  the  most  part  to  what  we  now  regard  as  the 
lower  middle  classes.  They  were  sweet,  quiet,  kindly 
people,  and  methinks  one  can  see  perhaps  something  of 
their  aspect  of  life  in  the  simple  Quakerish  miniatures 
which  Smart  painted. 

In  1783,  we  hear  of  the  artist  in  Ipswich,  and  of  his 
exhibiting  at  the  Royal  Academy  for  some  five  years,  and 
then,  in  1788,  he  went  off  to  India.  The  East  had,  at  that 
time,  very  special  attractions  for  an  artist.  The  Indian 
potentates  were  not  only  very  anxious  to  have  their  por- 
traits painted  by  English  artists,  but  they  were  prepared 
to  pay  very  large  sums  for  that  privilege,  and  to  "  shake 
the  Pagoda-tree  "  was  the  ambition  of  every  artist  of  the 
day,  however  simple  and  unworldly  he  may  otherwise  have 
been.  Smart's  journey  to  India  was  a  rather  disturbing 
element  in  the  mind  of  Ozias  Humphry,  to  whom  I  refer 

1  This  information  is  from  a  very  near  relation  of  my  own  (D.W.) 
who  received  and  cherished  Faraday's  letter. 


JOHN   SMART  137 


in  the  next  chapter,  because  the  latter  clearly  recognised 
in  Smart  a  superior  craftsman  to  himself,  and  he  was  rather 
afraid  that  Smart  would  thus  take  away  some  of  the  choice 
commissions  which  he  was  eagerly  anticipating.  Humphry 
heard  from  Joseph  Farrington,  a  Royal  Academician  of 
the  day,  that  Smart  intended  to  go  no  further  than  Madras, 
and  if  that  was  the  case,  Humphry  said,  it  would  not  be  of 
much  consequence  to  him ;  but,  he  added,  if  Smart  was 
going  on  to  Calcutta,  it  would  be  a  serious  injury  to  them 
both;  "  I  cannot  with  decency  or  the  least  satisfaction  to 
myself  take  any  steps  to  prevent  him,  though  the  object 
of  my  trip  to  India  was  to  be  frustrated  by  it."  Ozias 
Humphry  was  an  ambitious  and  somewhat  avaricious  man, 
and,  in  his  desire  to  obtain  riches,  was  at  times  unscrupu- 
lous. He  was  at  the  moment  of  writing,  under  a  sort  of 
engagement  to  Miss  Boydell,  and  Smart  was  to  have 
painted  her  picture.  He  did  not  want  her  to  make  the 
acquaintance  of  Cosway,  as  Cosway  was  a  noted  flirt,  and 
she  a  particularly  good-looking  woman.  He  was  inclined 
to  recommend  Jeremiah  Meyer,  but  he  would  sooner  Smart 
painted  the  portrait  than  any  one  else,  because  he  was  sure 
it  would  be  a  good  portr?-"-  so  he  went  on,  in  a  letter  to 
Miss  Boydell,  to  say,  that  one  of  his  chief  reasons  for  per- 
suading her  to  sit  to  Smart,  and  to  ask  her  friends  to  do  the 
same,  was  not  to  help  Smart  at  all,  but  rather  that  the 
artist  might  think  "  it  prudent  to  defer  his  trip  to  India 
till  next  winter,"  by  which  time  Humphry  would  have  got 
the  position  that  he  coveted.  As  it  turned  out,  Humphry 
was  foolish  to  make  this  remark,  because  he  showed  his  own 
selfishness  in  so  doing,  and  thus  annoyed  Miss  Boydell. 
The  lady  did  sit  to  Smart,  and  the  portrait  containing  her 
miniature  reached  Humphry  in  India  and  was  pronounced 
to  be  a  very  satisfactory  one.  After  a  while,  Humphry  had 
to  leave  Calcutta,  and  then  again  Smart  enters  into  the 
story,  for  in  one  of  his  letters  he  says  he  fears  that  his 
leaving  Calcutta  "  may  make  room  for  Mr.  Smart,  who  is 


138  THE  MINIATURE  COLLECTOR 

now  at  Madras,"  and  he  thinks  that  if  Smart  did  come  to 
Calcutta  it  would  oblige  him  to  have  to  paint  in  oil,  in 
order  to  compete  with  Smart,  because  there  was  no  oil 
painter  there  except  Hickey,  "  a  very  weak  painter  in 
oil,"  and  Zoffany,  who  was  about  to  return  to  England, 
but  the  people  who  saw  the  "  highly  finished  pictures  of 
Smart  "  "  grow  nice  and  want  good  pennyworths,"  and 
then  he  finishes  up  by  saying  that  as  Smart  did  not  paint 
in  oil,  but  only  in  miniature,  he  must  do  something  in  order 
to  compete  with  him.  As  a  matter  of  fact,  in  this  last 
statement,  Ozias  Humphry  was  in  error,  because  Smart  did 
occasionally  paint  in  oil,  once  certainly,  and  a  large  picture 
of  an  Indian  potentate,  the  work  of  John  Smart,  and 
signed  by  him,  hangs  in  the  smaller  reading-room  of  the 
Oriental  Club,  giving  us  clear  proof  that  Smart  could  paint 
in  oil,  although  one  is  bound  to  say  that  the  portrait, 
although  important,  is  not  a  notable  production,  and  is 
evidently  the  work  of  some  one  not  accustomed  to  that 
medium  in  which  it  was  executed.  There  are  altogether 
many  allusions  in  Ozias  Humphry's  correspondence,  both 
to  the  fine  miniature  which  Smart  painted  of  Miss  Boydell 
and  which  Humphry  admired  with  great  enthusiasm,  and 
to  his  great  dread  of  coming  into  competition  with  Smart, 
who  was  at  that  time  his  chief  rival,  and  who,  he  said, 
drew  better  than  he  could.  Beyond  these  few  references 
in  Humphry's  letters,  however,  we  know  practically 
nothing  of  Smart's  life  in  India.  We  are  told  that  he 
visited  the  courts  of  many  native  Princes,  and  that  he 
painted  the  Rajahs  and  the  Viziers,  their  children  and 
their  wives,  and  in  their  very  Palaces  there  should  still  be 
found  by  a  skilful  collector  fine  examples  of  Smart's  work. 
He  appears  to  have  adopted,  with  punctilious  attention,  the 
idea  of  putting  the  letter  "  I  "  underneath  the  initials  of  his 
own  name,  on  all  the  portraits  he  painted  in  India,  and 
such  portraits  as  those  of  Lord  Cornwallis,  a  Mr.  Thomas 
Cockburn,  and  of  a  Mr.  and  Mrs.  White,  and  other  Indian 


JOHN   SMART  139 


officials,  are  proved  to  have  been  painted  in  that  country 
by  the  presence  of  this  initial. 

In  addition  to  miniatures  Smart  seems  to  have  executed, 
both  in  India  and  in  England,  some  wonderful  pencil 
drawings,  and  it  seems  to  be  quite  possible  that,  in  his 
careful  way,  he  prepared  a  sketch  in  pencil  for  each  por 
trait,  before  he  painted  miniatures.  A  large  number  of 
these  pencil  portraits  are  still  in  existence,  some  in  his 
sketch-books,  and  others  separately  framed.  They  came 
after  Smart's  death  to  a  Miss  Smart,  who  was  possibly  his 
sister,  but  who  may  perchance  have  been  his  daughter. 
She  had  a  great  friend,  one  Mary  Smirke,  daughter  of 
Robert  Smirke  the  architect,  who  lived  near  Fitzroy  Square, 
and  to  this  Miss  Smirke,  Miss  Smart  seems  to  have  left 
whatever  she  possessed  in  the  way  of  drawings  and  sketch- 
books. In  consequence  there  are  in  the  possession  of  two 
descendants  of  the  Smirke  family  quite  a  large  collection 
of  pencil  drawings  by  Smart. 

One  of  them  offers  a  curious  problem  with  regard  to 
Smart's  family.  It  has  been  said  that  he  had  but  one  son, 
who  was  known  as  John  Smart  the  younger.  A  certain 
Samuel  Paul  Smart,  who  also  exhibited  at  the  Royal 
Academy  in  the  eighteenth  centu^,  was  certainly  not  his 
child,  and  was  very  probably  no  relation  at  all  to  him. 
The  son  was  also  a  person  of  quite  small  stature  ;  a  casual 
reference  to  him  in  the  pages  of  The  Spectator  speaks  of 
"  little  John  Smart,"  and  another  similar  allusion  in  a  con- 
temporary letter  refers  to  "  little  John  the  clever  painter," 
and  the  context  shows  that  it  was  Smart  the  younger  who 
was  meant  by  that  phrase.  This  John  Smart  the  younger 
accompanied  his  father  to  India  and  died,  in  Madras,  in 
1809.  There  is,  however,  in  the  Smirke  collection  a 
delightful  pencil  sketch  by  John  Smart  which  is  inscribed  : 
"  John  Dighton  born  at  Matrosse,  East  India,  June  1793, 
died  in  London  March  1810.  Painted  a  few  days  before 
his  death  by  his  grandfather  John  Smart/'  while  on  the 


140  THE   MINIATURE  COLLECTOR 


PLATE  XXV. 

JOHN   SMART 
(1740  ?-i 


1.  Lady  OakeleyK  1762-1  839)  (n6e  Beatson). 

In  the  Collection  of  Mr.  J.  Pierpont  Morgan. 

2.  Mr.  Featherstonhaugh. 

In  the  Collection  of  the  Lord  Hothfield. 

3.  Nelly  Garnett  (1770). 

At  one  time  in  the  possession  of  Mr.  E.  M.  Hodgkins. 

4.  The  Honourable  Thomas  Walpole. 

From  the  Collection  of  the  late  Sir  Spencer  Walpole. 


PLATE    XXV 


JOHN   SMART  141 


back  of  the  picture  is  a  still  further  inscription  :  "  March 
25,  aged  17,  painted  by  Mr.  Smart  his  grandfather." 
Moreover,  there  is  a  finished  miniature  of  the  lad  in  exist- 
ence, also  the  work  of  John  Smart,  which  has  at  the  back 
of  it  the  initials  "  J.D.S.,"  so  whether  the  younger  Smart 
had  a  son  whose  name  was  John  Dighton  Smart,  or  whether 
Smart  had  a  daughter  whose  married  name  was  Dighton,  is 
not  very  clear,  but  the  presumptive  evidence  is  in  favour 
of  the  first-named  theory,  and  it  may  follow  that  the  boy, 
after  the  death  of  his  father  in  India,  came  back  to  England, 
and  died  himself  in  the  following  year. 

The  younger  Smart  was  almost  as  clever  as  his  father, 
but  he  appears  to  have  painted  very  few  miniatures.  His 
own  portrait  was  painted  by  his  father  as  a  child,  and  the 
miniature,  inscribed  on  the  back,  "  The  infant  son  of  John 
Smart,"  is  in  America,  while  a  pencil  sketch  for  it,  slightly 
touched  with  colour/ is  in  the  collection  already  mentioned. 
Some  of  the  son's  work  was  on  a  larger  scale  than  that  of 
his  father,  and  one  miniature  especially,  which  was  in  the 
possession  of  Mr.  Gerald  Ponsonby,  is  unusually  big, 
perhaps  one  of  the  largest  of  the  eighteenth-century  pro- 
ductions. Others  represent  a  Mrs.  Turning,  dated  1810 ; 
Mr.  Booty,  a  purser,  dated  1797,  and  Mr.  Michael  Topping, 
a  surveyor-general  and  astronomer  of  the  East  India 
Company,  which  was  painted  in  1796  ;  but  there  are 
sketches  by  the  younger  Smart  for  Admiral  Young,  Lord 
Hawke,  Mr.  C.  S.  Wingfield,  Dr.  Johnson,  Mr.  Rallard, 
Captain  Gregory,  Mr.  Alfred  Clark,  Sir  Thomas  Elliott, 
Lady  Wentworth,  and  Lady  Ratcliffe,  of  which  the  actual 
miniatures  are  unknown,  and  perchance  some  collector 
may  yet  be  able  to  discover  them. 

While  in  India,  both  father  and  son  are  said  to  have 
adopted  an  extreme  simplicity  of  life,  spending  very  little 
upon  their  clothes  and  food,  and  to  have  been  more  tena- 
cious than  ever  to  the  peculiar  tenets  of  the  Sandemanians' 
doctrine,  taking  every  word  of  Scripture  in  its  literal  sense, 


142  THE  MINIATURE  COLLECTOR 

offering  a  stern  objection  to  second  marriages,  and  shunning 
cards,  dice,  and  all  games  of  chance,  because  of  their 
definite  opinion  that  the  "  lot  "  was  a  very  sacred  thing. 
These  statements  are  preserved  for  us  in  a  letter  written 
by  a  certain  Diana  Dally  to  her  friend  from  India,  in  which 
she  writes  of  having  met  Mr.  Smart  and  his  son,  and  seems 
somewhat  disposed  to  poke  fun  at  them  for  their  quiet 
simplicity. 

It  does  not  appear  likely  that  Smart  made  anything  in 
the  way  of  a  great  financial  success  in  India.  Apparently 
he  was  not  eager  for  such  success,  and  was  merely  anxious 
to  obtain  what  he  regarded  as  a  competence.  His 
cool,  soft-coloured,  rather  Quakerish  miniatures  were  not 
as  popular  in  the  native  courts  as  some  of  the  more  brilliant 
works  of  his  contemporaries  ;  but  he  painted  the  portraits 
of  a  considerable  number  of  the  English  residents  in  India, 
as  well  as  of  natives,  and  he  is  said,  upon  good  tradition, 
to  have  kept  a  book  containing  the  names  of  the  persons  he 
painted,  and  recording  the  prices  which  he  received  for 
these  portraits.  Unfortunately,  that  book  cannot  be 
found ;  it  would  be  of  extreme  interest  if  ever  it  could  be 
traced. 

When  Smart  came  home  from  India,  he  appears  to  have 
made  the  acquaintance  of  an  artist  called  Toussaint,  who 
was  not  merely  a  clever  miniature  painter,  but  also  a 
jeweller,  and  who  devoted  considerable  attention  to  design- 
ing and  making  wonderful  frames  for  miniatures,  on  several 
occasions  producing  special  frames  for  works  by  Smart. 
A  superb  portrait  that  was  once  in  the  Marshall-Hall 
collection  was  in  a  frame  designed  by  Toussaint ;  another, 
also  his  work,  was  in  the  collection  of  Miss  ffoulkes,  and 
it  is  said  that  the  simple  frame  of  pearls  and  diamonds  in 
which  was  contained  the  portrait  of  Smart's  son  as  a  baby, 
to  which  allusion  has  just  been  made,  was  also  the  work  of 
this  able  jeweller.  Mr.  Hodgkin  had,  at  one  time,  several 
miniatures  by  Smart  enclosed  in  elaborate  frames  of 


JOHN   SMART  143 


unusually  fine  gold  work,  which  were  probably  executed  by 
the  same  man. 

Smart  exhibited  many  times  at  the  Royal  Academy, 
but,  save  in  three  or  four  instances,  the  names  of  his  sitters 
are  not  given.  He  sent  portraits  of  himself,  of  Miss  Smart, 
and  twice  of  his  son,  once  as  Mr.  Smart,  and  once  as  Mr. 
Smart  junior ;  to  the  exhibitions,  and  he  exhibited  portraits 
of  Colonel  Reynolds,  and  of  Nollekens  the  sculptor,  but 
beyond  these  few  names,  we  cannot  identify  any  of  the 
portraits  he  sent  to  the  exhibitions.  His  death  I  have 
already  recorded,  but  where  it  actually  took  place,  beyond 
the  fact  that  it  was  in  London,  is  not  quite  clear,  and  it  is 
tantalising  to  feel  that  of  the  greatest  artist  of  that  period 
we  know  so  little,  and  that  the  few  scraps  of  information 
we  do  possess  are  all  such  as  would  lead  us  to  believe  that 
he  must  have  been  a  man  of  extraordinary  interest,  unusual 
in  his  day  and  generation,  both  in  his  personal  character 
and  in  his  art,  and  one  about  whom  we  would  gladly  have 
far  fuller  details.  Moreover,  he  was  so  careful  that  one 
may  be  sure  the  tradition  that  refers  to  his  having  kept  a 
book  of  accounts  and  a  list  of  his  sitters  is  a  firmly  based 
one,  and  these  documents  are  therefore  the  more  eagerly 
to  be  desired. 

Now,  as  regards  his  portraits,  and  as  helpful  to  the 
collector,  it  may  be  well  to  say  that  almost  all  his  portraits 
represent  only  the  head  and  bust.  There  are  practically 
only  two  examples  with  which  I  am  acquainted  where 
accessories  of  any  sort  find  a  place  in  Smart's  work.  In 
one,  a  portrait  of  a  lady  painted  in  India  in  1787,  Smart  has 
represented  her  as  holding  a  book  between  two  of  her 
fingers  and  resting  her  hand  upon  a  walking-stick.  In 
another,  an  example  of  the  forget-me-not  is  introduced 
between  two  ringers,  painted  with  marvellous  skill,  and  so 
perfectly  kept  as  an  accessory  that  it  is  not  instantly 
realised  that  the  flower  is  in  the  portrait  at  all,  the  attention 
of  the  spectator  being  taken  almost  exclusively  by  the  face. 


144  THE  MINIATURE  COLLECTOR 

The  backgrounds  are  brown,  greenish,  grey,  creamy- white, 
sometimes  with  a  little  mingling  of  greenish -brown,  and  in 
a  few  examples  almost  black,  the  more  highly  coloured  being 
greenish-grey  in  a  sort  of  mingled,  slightly  modelled  effect. 
The  details  of  the  costume,  such  as  the  star  of  an  Order,  or 
the  buttons  of  the  coat,  a  silk  or  lace  tie,  a  pearl  necklace 
or  jewels,  are  always  painted  with  extreme  minuteness  and 
perfect  skill ;  but,  as  already  mentioned,  all  such  accessories 
occupy  their  fitting  place  in  the  portrait.  They  are  never 
unduly  prominent,  they  have  almost  to  be  sought  for. 
When  found,  the  skill  with  which  they  are  represented  is 
instantly  recognised  :  but  it  is  the  faces  that  attract,  and 
the  incomparable  skill  with  which  they  are  delineated 
gives  Smart  his  high  position.  Moreover,  there  is  nothing 
monotonous  about  Smart's  work.  There  is  an  infinite 
variety  about  the  expression  of  the  faces,  and  both  amongst 
his  men's  and  women's  portraits  there  is  hardly  one  that 
is  represented  sad,  and  there  are  many  in  which — for  a 
wonder — an  almost  sly  humour  is  clearly  to  be  perceived. 
One  is  disposed  to  think  that  Smart  was  a  happy  man, 
for  he  introduced  this  element  of  quiet  content  into  his 
portraits,  just  lighting  up  some  of  them  with  the  faintest 
glimpse  of  humour.  One  feels  sure  that  he  had  striven  for 
truth  in  his  portraiture,  and  had  obtained  it.  The  portraits 
are  clearly  not  flattered.  They  are  life-like.  He  was 
perhaps  not  quite  skilful  in  composition  ;  at  times  the  figures 
are  set  a  little  awkwardly  inside  the  miniatures,  and  some- 
times one  feels  that  the  miniature  would  have  been  better 
if  a  little  more  background  had  been  shown  at  one  side  of 
the  head,  or  a  little  less  on  the  other,  or  more  above  or 
below,  and  one  is  inclined  to  think  sometimes  that  the 
lighting  is  not  quite  as  perfect  as  one  would  have  expected 
from  so  skilful  a  draughtsman.  It  has  even  been  said  that 
the  painting  is  a  little  laborious  and  smells  a  trifle  of  the 
lamp,  and  that  the  modelling  is  a  little  over-definite  ;  but 
lam  disposed  to  think  that  these  are  points  of hyper-criti- 


JOHN   SMART  145 


cism,  and  that  examination  of  a  number  of  Smart's  works 
will  lead  the  collector  to  think  that  these  delicate  points  of 
criticism  are  not  wholly  warranted,  that  Smart  stands 
alone,  complete  and  great  in  his  work,  and  there  is  more 
real  satisfaction  in  collecting  his  miniatures  than  in  obtain- 
ing those  of  his  contemporaries  from  the  point  of  view  in 
which  they  repay  careful  study,  from  the  extreme  dignity 
of  their  presentations,  and  the  wonderful  psychology  of  the 
miniatures,  revealing  to  us,  as  they  do,  the  very  life  of  the 
person.  The  humour  to  which  we  have  referred  is  more 
to  be  seen  in  the  portraits  of  men  than  in  those  of  women. 
In  some  of  the  women's  portraits,  the  expression  is  a  trifle 
sarcastic,  even  sardonic ;  the  humour  cannot  be  kept  outside 
altogether,  but  it  takes  upon  itself  a  rather  bitter  tinge, 
whereas  in  the  men's  portraits  it  is  lighter  and  more  charm- 
ing. The  texture  of  the  flesh  is  incomparable,  and  one 
feels  there  is  a  strength  in  reserve,  a  certain  grandeur  in  the 
reticence  of  the  colour  scheme,  which  is  responsible  for  the 
high  position  one  gives  to  Smart's  work.  It  must  be 
stated,  moreover,  that  there  are  two  periods  to  be  marked  in 
his  miniatures  ;  those  which  he  produced  about  1770  being 
marked  by  an  exceedingly  smooth  finish  which  approaches 
to  that  of  enamel,  the  stippling  is  exceedingly  delicate,  the 
purity  of  the  colour  well  marked,  and  the  miniatures  that 
were  painted  within  just  these  few  years  round  about  1770 
are  amongst  his  finest,  but  not  perhaps  amongst  his  greatest 
works.  Just  at  that  time,  there  was  a  little  over-elabora- 
tion, but  they  are  quite  wonderful  and  worthy  of  close 
examination,  though  a  little  later  there  was  super-added  a 
breadth  which  was  lacking  in  1770.  It  would  be  interesting 
to  know  exactly  what  was  the  pigment  Smart  used  for  his 
flesh  tints.  It  was  not  the  ordinary  lake,  nor  the  customary 
carnation.  It  gives  a  very  natural  effect,  albeit  a  trifle 
inclined  to  a  brick-dust  hue.  Once  recognised,  it  forms  an 
easy  touch-piece  for  detecting  Smart's  work.  It  is  impos- 
sible to  describe  the  colour,  but  the  collector  who  gives 


146  THE  MINIATURE  COLLECTOR 

some  careful  attention  to  the  work  of  Smart  will  find  the 
presence  of  this  peculiar  flesh  tint  almost  invariable,  and 
it  will  enable  him  practically  in  a  flash  to  identify  the  work 
of  this  great  painter. 

It  might  be  well,  in  conclusion,  to  mention  the  names  of 
a  few  persons  whose  portraits  Smart  undoubtedly  painted, 
but  whose  miniatures  have  not  yet  been  found.  We  know 
of  the  existence  of  these  miniatures  because  the  preparatory 
pencil  sketches  for  them  are  still  in  existence,  and  it  may 
be  of  some  service  to  the  collector  if  we  mention  that 
miniatures  by  John  Smart  representing  the  following 
persons  have  yet  to  be  found  and  to  be  identified.  This 
may  perchance  add  some  zest  to  the  search  for  them.  The 
names  are  these  : — 

Miss  Rawley,  Mr.  Stead  of  Tower  Hill,  Lord  Craven, 
1783,  Mr.  Roche,  Mr.  Maquer,  Major  Banks,  Elizabeth 
Balchin,  Miss  Benet,  Sir  G.  Carew,  Mr.  Batson,  Mr.  Fitz- 
herbert,  Sir  John  Lester,  Mr.  Jones,  Mr.  Ward,  Miss  C. 
Wolff,  Lady  Abington,  Mr.  Auriol  (a  member  of  the  same 
family  as  that  painted  by  Zoffany  in  India),  Mr.  Gambier, 
Mr.  Aguilar,  Sir  Roger  Twisden,  Mr.  Davidson,  Mr.  Read, 
Mr.  Plomer,  Mr.  Tomkinson,  Sir  G.  Armytage,  Lady  Oglan- 
der  and  Monsieur  de  Viapre. 

There  are  two  portraits  of  Smart  in  existence,  one 
resembles  a  silhouette,  and  was  the  work  of  John  Miers. 
It  was  drawn  in  1799,  and  presented  by  Smart  to  his  wife, 
having  an  inscription  on  the  back  of  it  to  that  effect.  It 
was  really  a  painting  in  Indian  ink  on  ivory,  representing 
him  in  a  high-collared  coat  and  frilled  cravat.  It  was  in 
the  Wellesley  Collection.  The  other  portrait  appears  on  a 
rare  medal,  and  is  declared  to  be  the  work  of  Smith  M. 
Kirk,  whose  name  appears  on  the  exergue.  It  describes 
him  as  a  miniature  painter,  and  represents  him  as  a  man 
in  middle  life,  wearing  his  hair  in  an  elaborate  pigtail. 
The  medal  has  a  plain  reverse  and  is  exceedingly  scarce. 


CHAPTER  XII 

OZIAS   HUMPHRY,    R.A. 


THE  only  other  artist  of  the  eighteenth  century  who 
deserves  a  separate  chapter  to  himself  is  Ozias 
Humphry  ;  he  occupies  as  high  a  position  as 
any  of  those  in  the  second  rank,  and,  indeed,  in  his  finest 
work  can  be  reckoned  as  important  even  as  Cosway  or 
Smart.  The  curious  feature  about  Humphry's  miniatures 
is  that  the  unfinished  ones,  sketches  for  miniatures,  are 
often  finer  and  more  important  than  his  finished  works. 
It  is  also  a  point  of  some  importance,  that,  until  quite 
recent  years,  his  unfinished  works  had  not  received  the 
attention  they  deserved,  because  a  large  proportion  were 
hidden  away  from  public  sight,  and  known  to  very  few 
persons  outside  quite  a  small  circle.  Humphry's  sketches 
are  brilliant  impressions,  but  too  many  of  his  miniatures 
are  over-elaborate,  and  too  detailed  in  treatment.  This 
is  especially  the  case  with  the  portraits  he  painted  while  in 
India.  He  was  carried  away  by  the  glowing  colour  of  the 
robes  worn  by  the  various  native  officials  whose  portraits 
he  delighted  to  paint,  and  by  the  appearance  of  their 
jewels,  chains,  and  daggers,  and  too  often  he  elaborated 
these  unimportant  details,  and  so  spoiled  the  general  effect. 
Moreover,  as  a  rule,  his  miniatures  are  too  large.  He  was 
fond  of  the  very  largest  sized  oval  that  was  at  that  time 
in  use,  and  he  aimed  too  much  at  producing  a  finished 
picture  rather  than  an  adequate  portrait.  When  to  this 
we  add  the  statement  that  he  gave  up  some  considerable 

147 


148  THE  MINIATURE  COLLECTOR 

time  to  copying  in  miniature  large  oil  paintings,  and  that 
the  chief  commission  that  he  ever  received  was  to  make 
miniature  copies  of  a  series  of  family  portraits  at  Knole, 
it  can  well  be  believed  that  this  work  did  not  improve  his 
skill  in  presenting  a  small  and  adequate  portrait,  but 
tended,  by  the  production  of  elaborate  copies  of  other 
work,  to  injure  him  in  original  work. 

He  was  born  at  Honiton.  His  mother  was  a  lace  worker 
who  appears  to  have  carried  on  an  important  business,  and 
to  have  been  fairly  successful.  The  father  was  a  member 
of  a  well-known  Devonshire  family,  and  Humphry  always 
took  great  interest  in  gathering  up  information  respecting 
his  ancestors,  and  in  making  use  himself  of  the  armorial 
achievements  to  which  they  were  entitled.  As  a  boy,  he 
showed  some  considerable  artistic  skill,  and  his  father  was 
persuaded  to  send  him  up  to  London,  where  he  studied  for 
a  while  at  Shipley's  school  in  St.  Martin's  Lane.  On  the 
death  of  his  father,  he  returned  to  Devonshire,  and  Mrs. 
Humphry  hoped  he  would  join  her  in  the  lace  industry,  and 
devote  his  talent  for  design  to  her  assistance ;  but  Humphry- 
was  not  willing  to  do  this,  and,  in  1762,  he  went  to  Bath, 
and  was  articled  to  Samuel  Collins,  the  miniature  painter. 
He  boarded,  in  Bath,  with  Mrs.  Linley,  and  made  the 
acquaintance  of  her  beautiful  daughter,  who  afterwards 
became  Mrs.  Sheridan.  There  are  interesting  allusions  to 
the  various  members  of  the  Linley  family  to  be  found 
amongst  his  documents. 

When  Collins  came  to  grief,  Humphry  proceeded  to 
London,  and  there  had  his  celebrated  interview  with  Sir 
Joshua  Reynolds,  and  was  persuaded  by  him  to  start  on 
his  own  account  as  a  painter.  Reynolds  encouraged  him 
in  his  work,  and  lent  him  one  of  his  own  pictures  to  copy. 
Humphry  then  became  a  member  of  the  Society  of  Artists, 
and  decided  that  he  would  settle  down  in  London.  Before 
doing  so,  however,  he  went  back  again  to  Bath,  came  into 
intimate  connection  with  Gainsborough,  with  whom  he 


OZIAS  HUMPHRY,   R.A.  149 

used  to  ride,  and  after  making  an  interesting  excursion  to 
various  places  in  the  West  and  central  parts  of  England, 
he  came  up  finally  to  London,  and  took  rooms  at  Covent 
Garden.  One  of  his  miniatures,  exhibited  in  1766,  attracted 
the  attention  of  the  King,  who  purchased  it,  and  then 
Humphry  obtained  commissions  to  paint  portraits  of  the 
Queen,  and  of  other  members  of  the  Royal  Family.  He 
had  already  made  the  acquaintance  of  George  Romney, 
with  whom  he  was  to  become  particularly  intimate,  and 
it  is  probable  that  their  studios  were,  at  that  time,  adjacent 
to  one  another.  The  two  men  decided  to  visit  Italy  in 
company,  and  they  set  out  in  1773,  journeying  first  of  all 
to  Knole,  where  they  had  some  commissions  to  execute  for 
the  Duke  of  Dorset,  in  whose  house  they  appear  to  have 
remained  for  some  little  time.  They  then  went  on  to 
Rome  and  Florence,  and  Humphry  studied  in  Italy  till 
1777,  when  he  was  back  again  in  London,  having  been 
preceded  by  Romney,  who  spent  a  far  shorter  time  on  the 
Continent  than  he  did,  and  who  was  back  on  London  in 
1775.  It  was  on  his  return  to  London  that  Humphry  made 
the  acquaintance  of  Dr.  Johnson,  and  some  interesting 
letters  then  passed  between  the  two  men. 

In  1785,  Humphry  decided  to  leave  England  for  India, 
having  the  desire  to  pass  two  or  three  years  in  that  country, 
and  if  possible,  to  use  his  own  words,  "  to  acquire  a  com- 
petence which  will  give  serenity  to  the  thought  of  old  age." 
He  had  heard  a  good  deal  from  other  artists,  who  had 
already  "  shaken  the  Pagoda-tree,"  of  the  success  which  had 
attended  their  efforts,  and  he  went  out  in  high  spirits, 
expecting,  not  merely  to  gain  the  competence  upon  which 
he  had  set  his  heart,  but  to  acquire  a  comfortable  fortune. 
He  was  successful  in  his  work  in  India,  obtaining  a  great 
many  commissions,  but,  unfortunately,  some  very  large 
sums  that  were  due  to  him  from  certain  native  princes 
were  never  paid,  and  the  pleasure  that  Humphry  derived 
from  his  sojourn  in  India  was  very  much  spoiled  on  account 


150  THE   MINIATURE  COLLECTOR 


PLATE  XXVI. 

OZIAS    HUMPHRY,    R.A. 

(1742-1810). 

1.  "  Charles  Lee,  Lord  Viscount  Dillon  of  Ditchley,    Oxford. 

2.  "  Marquis  of  Graham,  Duke  of  Montrose." 

3.  "  Mrs.  Nesbitt  of  Norwood  Common  1770." 

4.  "  Mr.  Hervey- Aston  1765." 

Above  four  from  the  Turner  Collection. 

5.  "A  boy,   name  unknown." 

In  the  Collection  of  Dr.  G.  C.  Williamson. 

N.B. — The  inscriptions  are  as  Humphry  wrote  them. 


PLATE   XXVI 


OZIAS  HUMPHRY,   R.A.  151 

of  this  difficulty.  There  are  masses  of  papers  still  in 
existence  which  deal  with  this  heavy  debt,  and  detail  the 
many  efforts  Humphry  made  to  obtain  its  payment.  On 
more  than  one  occasion  he  could  have  had  payment  of 
the  principal  sum,  but  he  was  stubborn  enough  to  insist 
also  upon  the  interest,  and  by  this  insistence  he  lost  all 
chance  of  obtaining  the  original  amount.  His  health  broke 
down  in  India,  and  he  had  to  return  to  England  in  1788. 
The  voyage  home  was  an  uncomfortable  one :  he  was 
disappointed  at  his  lack  of  success,  he  had  become  more 
irritable,  and,  moreover,  his  eyesight,  which  later  on  was 
to  cause  him  such  grievous  trouble  as  to  oblige  him  to 
relinquish  his  artistic  pursuits,  was  even  then  a  source  of 
considerable  inconvenience.  On  his  return  to  London,  he 
took  up  crayon  painting,  became  a  full  member  of  the 
Academy  in  1791,  and  in  1792  was  appointed  a  portrait 
painter  in  crayons  to  the  King.  By  1797,  however,  he 
had  to  give  up  his  artistic  work,  his  blindness  having  then 
increased  to  a  very  serious  extent.  He  lived  for  some 
thirteen  years  longer,  however,  and  died  at  his  residence 
on  March  9th,  1810. 

He  is,  perhaps,  specially  to  be  remembered  at  the  present 
day  by  reason  of  the  long  and  interesting  lawsuit l  that 
took  place  in  1917,  concerning  a  picture  which  was  at  one 
time  believed  to  represent  Mrs.  Siddons  and  Miss  Kemble, 
and  was  attributed  on  circumstantial  evidence  to  Romney, 
but  which  eventually  proved  to  be  a  portrait  of  the  Ladies 
Waldegrave,  and  the  work  of  Ozias  Humphry.  Fortu- 
nately, Humphry's  original  signed  sketch  for  the  composi- 
tion of  this  picture  had  been  preserved,  and  its  production 
in  court  2  settled  a  very  complicated  question,  which  had 
been  a  dispute  for  several  months. 

Humphry  had  a  natural  son,  one  William  Upcott,  a 
well-known  collector  of  books,  MSS.  and  medals.  He 

1  Huntington  v.  Lewis  and  Simmons,  May  I5th-24th,   1917. 

2  By  the  writer. 


152  THE  MINIATURE  COLLECTOR 

inherited,  from  Humphry,  a  considerable  number  of 
unfinished  miniatures  and  sketches  both  on  paper  and  on 
ivory,  and  also  whatever  property  Humphry  possessed  at 
his  death,  together  with  many  sketch-books,  and  an 
extensive  correspondence.  By  good  fortune,  Upcott  pre- 
served, with  the  greatest  care,  the  papers  and  docu- 
ments relating  to  Humphry's  career,  binding  them  up  into 
various  volumes,  many  of  which  form  to-day  part  of  the 
library  of  the  Royal  Academy.  We  are  therefore  in  a 
position  to  know  more  of  the  inner  life  of  this  eighteenth- 
century  artist  than  we  do  of  many  of  his  contemporaries. x 
The  documents  revealed  two  interesting  love  stories,  but 
did  not  show  the  artist  in  a  very  attractive  guise.  He  was 
a  man  of  fickle  temperament,  of  somewhat  miserly  dis- 
position and  of  a  fretful  and  irritable  temper,  with  the 
result  that  he  was  disappointed  almost  throughout  his 
career.  The  collection  of  unfinished  miniatures  which  he 
bequeathed  to  Upcott  came  eventually  into  the  possession 
of  Mr.  Hampden  Turner,  and  from  them  we  can  form  an 
adequate  idea  of  Humphry's  skill,  and  thus  give  him  a 
higher  position  as  a  miniature  painter  than  for  some  years 
he  possessed.  Differing  from  most  painters,  he  gave 
attention  to  almost  every  branch  of  art ;  some  of  his  oil 
paintings  are  thoroughly  satisfactory.  In  his  crayon  work, 
he  took  a  high  average.  He  drew  skilfully  in  pencil,  he 
attempted  etching,  water-colour  painting,  and  even 
lithography,  but  it  is  on  his  work  as  a  miniature  painter 
that  his  reputation  will  rest,  and  some  of  his  finest  works, 
especially  those  on  a  very  small  scale,  are  of  extreme 
beauty,  and  great  excellence.  He  left  behind  him  great 
evidence  of  his  industry,  and  his  drawings,  miniatures  and 
paintings  are  to  be  found  in  many  collections. 

As  already  mentioned,  he  was  skilful  in  copying,  in 
miniature  form,  family  portraits  in  oil,  and,  for  the  Duke 

1  Vide  "Ozias  Humphry,  R.A.,"  by  G.  C.  Williamson,  1918. 


OZIAS  HUMPHRY,   R.A.  153 

of  Dorset,  he  produced  a  long  series  of  such  works,  which 
have  now  found  a  place  in  the  collection  of  Mr.  Pierpont 
Morgan.  There  are  many  of  his  drawings  in  the  British 
Museum,  and  in  the  possession  of  Mr.  A.  G.  Fisher.  One 
of  his  best  crayon  portraits  is  in  the  collection  of  the 
Gaekwar  of  Baroda,  there  are  several  portraits  by  him  in 
the  National  Portrait  Gallery,  and  five  of  his  miniatures  are 
in  the  collection  of  His  Majesty  the  King  at  Windsor 
Castle,  others  at  Welbeck  Abbey,  at  South  Kensington 
Museum,  and  in  the  collections  of  Lord  Hothfield,  Lord 
Powys,  the  Duke  of  Rutland,  Lord  Sackville,  Earl  Spencer 
and  Mr.  Francis  Wellesley.  One  of  his  best  oil  paintings 
is  at  Berkeley  Castle,  and  others  are  at  Knole  Park,  at 
Greenwich  Hospital  and  at  Ickworth.  There  is  one  of  his 
miniatures  in  the  Holburne  Museum  at  Bath,  another  is 
owned  by  the  Earl  of  Carlisle,  one  belongs  to  the  Earl  of 
Harewood,  another  to  the  Earl  of  Jersey,  and  there  are 
two  or  three  in  my  own  collection.  The  bulk  of  his  un- 
finished portraits,  however,  still  remains  in  the  possession 
of  Mr.  Hampden  Turner,  to  whose  ancestors  it  came,  by 
bequest,  from  William  Upcott. 

It  may  be  well  to  draw  the  attention  of  the  collector  to 
one  curious  feature  that  is  easily  recognised  in  Humphry's 
miniatures.  He  had  the  habit  of  giving  what  a  contem- 
porary critic  called  "  greyhound-like  eyes  "  to  his  sitters. 
Attention  has  already  been  directed  to  the  fact  that  the 
eyes  painted  by  Andrew  Plimer  were  unusually  large,  some- 
what staring,  and  a  little  meretricious  in  their  prominence. 
Humphry's  work,  on  the  other  hand,  is  distinguished  by 
entirely  different  characteristics.  The  eyes  are  long  and 
narrow,  a  little  inclined  to  resemble,  in  their  extreme 
narrowness,  those  of  an  Oriental.  It  is  not  easy  to  explain 
exactly  the  way  in  which  they  differ  from  the  eyes  painted 
by  many  of  his  contemporaries,  but  if  the  collector  gives 
some  careful  attention  to  the  illustrations,  notably  those 
in  colour,  of  various  unfinished  miniatures  by  Ozias  Hum- 


154 


THE  MINIATURE   COLLECTOR 


phry,  the  characteristics  will  be  readily  noted,  and  this 
curious  painting  of  the  eye  will  be  a  help  in  distinguishing 
his  work  from  that  of  any  of  his  contemporaries.  He 
appears  seldom  to  have  painted  the  eyes  really  wide  open. 


There  is  a  half  sly  look  about  them,  which  gives  a 
somewhat  sleepy  appearance  to  the  faces  of  many  of  his 
women  sitters.  The  backgrounds  to  his  miniatures  are 
usually  dark,  sometimes  green  or  brown  or  blue,  but  always 


OZIAS  HUMPHRY,   R.A.  155 

inclining  to  the  darker,  denser  shade  of  colour,  and  these 
are  produced  by  somewhat  elaborate  stippling.  He  had 
a  clever  sense  of  composition,  and,  as  a  rule,  the  portraits 
are  admirably  set  upon  the  ivory.  They  are  very  seldom 
full  face,  generally  three-quarter,  but  very  often  in  profile. 
The  easiest  way  to  detect  them  is  by  looking  for  the  dreamy, 
sleepy  look  which  marks  them  out  from  the  work  of  any  of 
his  contemporaries.  His  best  portraits  are  on  an  exceed- 
ingly small  scale,  and  these  are  particularly  well  worth 
securing.  Few  artists  of  the  day  could  surpass  him  in  the 
rapidity  with  which  he  was  able  to  obtain  and  preserve  a 
likeness. 

A  reproduction  of  his  usual  signature  is  given  overleaf. 


CHAPTER   XIII 

WILLIAM  WOOD 


WILLIAM  WOOD  was  a  popular  miniature  painter 
in    the    Eighteenth   Century    about    whom 
hitherto  very  little  has  been  known,  but  who 
was  responsible  for,  at  least,  1,200  miniatures  and  also  for 
many  interesting  drawings  and  water  colours. 

He  has  been  alluded  to  in  several  books  of  reference, 
and  various  statements  have  been  made,  some  of  them 
accurate  and  some  based  on  erroneous  information  or 
confusion  with  someone  else,  wholly  incorrect.  Amongst 
those  who  have  at  times  fallen  a  victim  to  inaccurate 
information  I  am  bound  to  include  myself,  but  I  may 
add  that  I  have  always  known  that  somewhere  or  other, 
in  Suffolk,  manuscripts  concerning  Wood  were  in  existence, 
and  I  hoped  some  day  to  obtain  and  make  use  of  them. 
Far  and  wide  I  made  enquiries  and  was  at  length  successful ; 
and  now,  as  I  possess  definite  information  concerning  Wood 
in  his  own  handwriting,  which  has  never  before  been  pub- 
lished, it  seemed  well  to  take  advantage  of  the  appearance 
of  this  book,  and  give  a  chapter  of  almost  wholly  new 
material,  upon  a  painter  who  deserves  to  be  recognised. 
Moreover,  from  his  four  ledgers  which  are  now  in  my 
possession,  I  have  extracted  a  list  of  his  sitters  and  it 
appears  as  an  appendix  to  this  book.  Details  of  almost 
every  portrait  are  carefully  given  by  Wood,  and  to  the 
owners  of  any  of  the  miniatures  I  shall  be  happy  to  supply 
the  complete  information  which  the  artist  has  written  down. 
In  many  instances  it  is  full  of  interest. 

156 


WILLIAM  WOOD  157 

Wood  kept  his  accounts  with  praiseworthy  exactitude. 
He  numbered  his  miniatures  from  5,000  for  the  first 
miniature  down  to  6,211,  the  last  he  chronicles,  and  his 
drawings  from  10,000  down  to  10,149,  the  last  mentioned, 
in  his  fourth  volume.  He  worked  from  1790  to  1808, 
and  he  describes  in  most  instances  the  size  of  the  miniature, 
the  pigments  he  used  in  his  preparation,  the  dates  when  he 
began  and  completed  it,  the  price  he  was  paid  for  it,  and 
other  details  concerning  its  frame,  the  person  to  whom  it 
was  delivered,  its  condition  and  appearance  in  later  years 
and  so  on.  Moreover,  in  many  instances,  he  attaches  to 
the  page  a  tracing  of  the  actual  portrait,  so  that  identifica- 
tion is  easy  and  certain.  He  prefaces  his  first  ledger  by 
drawings  of  the  six  sizes  of  ovals  which  he  used ;  they 
measure  2,  2j,  2j,  3,  3j,  and  3}  in  length,  and  were  called 
by  him  sizes  3,  4,  5,  6,  7  and  8.  He  then  alludes  to  certain 
abbreviations  he  uses.  S.  W.,  he  says,  is  "  a  kind  of  white 
prepared  from  silver  by  Reeves." 

B.W.  is  a  "  white  prepared  from  bismuth/'  and  this  he 
adds  is  "  bad." 

F.  W.  is  "  the  common  flake  white." 

O.  W.  "  is  another  on  a  lead  basis." 

C.  W.  "  is  common  river  water." 

D.  W.   "is  distilled  water." 

C.  R.  "  is  creamlets  white,  prepared  by  Mr.  Turner  of 
Millbank,  on  a  lead  basis  but  perfectly  durable." 

He  then  adds  "  a  sufficient  quantity  of  gum  is  united 
with  the  colours,  to  make  them  bear  out,  and  a  twelfth 
of  white  sugar  candy  to  make  them  work  more  freely." 
The  other  pigments  to  which  he  alludes  are  Reeves'  Con- 
stant White,  Gamboge,  Madder  Lake,  Gardner's  Brown,. 
Prussian  Blue,  Bone  Black,  Scott's  Cake  Bistre,  Black- 
man's  White,  Blackman's  carmine,  Townsend's  Purple, 
Godfrey's  Ultramarine,  Mapoul's  Vermilion,  Bartram's 
Mineral  Blue  and  Dragon's  Blood.  To  some  of  these 
colours  I  make  allusion  in  a  later  chapter. 


158  THE  MINIATURE  COLLECTOR 

The  first  Miniature  Wood  recorded  was  "  a  copy  from 
an  old  picture  said  to  be  a  head  of  Ben  Jonson  ;  in  purple 
drapery  and  olive  ground."  This  he  says  he  painted  for 
himself,  in  January,  1790.  He  left  it  with  a  Mr.  More,  he 
says,  "  for  shew,"  fetched  it  back  on  March  4th,  1791, 
and  then  sent  it  to  someone  else.  "  The  first  miniature 
I  ever  painted,"  however,  he  numbered  5001,  and  says 
it  was  "  a  copy  from  Sir  Joshua's  portrait  in  a  Classical 
Dress."  This  he  also  did  in  January,  1790,  and  presented 
it  to  Mr.  John  Kerby,  of  Stafford  Street.  Then  followed 
three  more  copies  from  works  by  Reynolds,  one  of  which 
he  sent  to  Bristol,  another  to  Champion's  Library,  Margate, 
and  a  third  to  Silver's  Library,  Margate,  all  "on  shew." 
Two  of  these  he  re- touched,  one  in  1796  and  the  other  in 
1799.  He  tells  us  of  one  of  them  that  the  coat  was  "  in  body 
colour,  of  Indian  ink  and  silver  white,"  and  the  curtain 
in  the  background  of  "  vermilion  and  Indian  red  glazed 
with  lake  and  burnt  umber,"  and  that  they  all  had  "  gum 
arabic  water  passed  over"  them.  There  followed  a  por- 
trait of  his  sister  in  black  drapery,  "  the  lights  scratched 
off  with  a  point,"  which  he  sent  to  Bristol  "  on  shew," 
where  later  on  he  obtained  many  commissions,  and  then 
came  his  first  commission,  a  portrait  of  "  Sir  Jacob  Woulfe 
in  a  dark  coat  with  an  olive  background  when  about  60." 
He  painted  this  on  February  nth,  1790,  and  was  paid  a 
guinea  for  it,  and  from  that  moment  success  appears  to 
have  been  assured.  In  the  same  year  for  a  portrait  of  Mr. 
Hodgitts,  of  Dudley,  he  had  2  guineas,  but  by  September 
his  price  had  gone  up  to  2|  and  3  guineas,  and  this  seems 
to  have  been  his  fee  until  1792,  when  it  rose  to  5  guineas. 
A  little  later  on  it  was  7  guineas,  and  then  10,  and  in  the 
last  two  years  of  which  we  have  any  records  it  varies  from 
10  up  to  15  guineas,  according  to  size  and  subject,  with 
an  occasional  20  for  a  large  drawing,  but  for  ordinary 
miniatures,  as  distinct  from  drawings,  does  not  appear 
to  have  ever  exceeded  15  guineas.  The  interest  of  these 


WILLIAM  WOOD  159 

books  kept  by  Wood  is  twofold.  From  the  artist's  point 
of  view  it  is  instructive  to  learn  his  methods.  For  example 
of  one  (5402)  he  thus  writes  : 

"  Col.  J.  Stuart,  of  2nd  Foot-guards,  in  uniform,  averted 
eye,  ultramarine  in  head,  mineral  blue  in  sky,  Mapoul's 
vermilion  in  the  coat.  Facings  and  stock  of  Turner's  new 
creamlet.  Exhibited  in  1797.  Epaulet  added  to  the  left 
shoulder  then.  About  35,  sixth  size.  Finished  March  i8th, 
1796.  Delivered  March  I9th,  1796,  £6  6s." 

We  could  hardly  wish  for  fuller  details.  Of  another, 
the  entry  reads  thus  (5429)  : 

"  Miss  Fanny  Lambton,  of  Charlton  near  Greenwich,  in 
a  white  frock  with  pink  sash.  Right  hand  up.  Dark 
curled  hair  and  averted  eye.  Mapoul's  white  in  eyes, 
ivory  scraped  and  rubbed  with  cuttlefish  bone,  age  about 
2,  7th  size.  Finished  July  8th,  1796.  Delivered  on  the 
I5th,  £8  8s." 

Sometimes  no  special  colouring  is  noted,  for  example  of 
a  miniature  still  belonging  to  the  Earl  of  Durham  we  read 
thus  (5334)  : 

"  The  two  children  of  Mr.  Lambton,  of  Durham,  in  one 
picture.  Pink  sashes  ;  the  eldest  standing  and  the  youngest 
sitting  on  a  bank,  ages  about  3  and  2.  8th  size.  Finished 
March  27th,  1795.  Delivered  3ist.  £16  i6s.  (being  for 
two  persons)." 

Similar  entries  give  us  various  items  of  detached  informa- 
tion, thus  :  "  Dress  of  burnt  carmine  ;  "  "  used  a  red 
behind  the  black  drapery  ;  "  "no  vermilion,  only  a  madder 
red  ;  "  "  much  gum  in  the  vermilion  ;  "  "  epaulet  of 
King's  yellow  ;  "  "  some  gallstone  in  the  hair  ;  "  "  gamboge 
in  the  flesh  ;  "  "  lace  of  coat  brown  ochre  and  King's 
yellow  ;  "  "  coat  of  indigo  ;  "  "hair  of  Cologne  earth  ;  " 
"  ivory  rubbed  with  garlick  ;  "  "  red  in  the  dress  of  mixed 
Indian  red  and  lake  ;  "  "  Townsend's  purple  for  the  dress  ;  " 
"  coat  umber  and  creamlet ;  "  "  dress  Reeves'  constant 
white  ;  "  while  to  add  to  the  importance  of  all  this,  we  have 


i6o  THE  MINIATURE  COLLECTOR 

many  entries  by  him,  recording  how  the  colours  have  stood. 
Of  a  miniature  painted  in  1796,  of  Mr.  Charles  Pepys,  of 
Wimpole  Street,  in  a  blue  coat,  he  wrote  later  on  thus  : 

"  In  January,  1800,  examined  this  and  found  the  ivory 
green  in  its  hue,  which  I  attribute  to  the  garlick,  the  white 
perfect,  no  injury  from  touches  of  gum  arabic  on  the  hair. 
B's  carmine  has  faded,  but  the  madder  and  vermilion 
prevent  its  being  discovered  by  other  than  my  own  eyes." 

Again,  of  one  done  in  1798  he  writes  : 

"  Examined  it  in  May,  1802,  and  did  not  discover  any 
bad  effect  from  the  gum  employed.  The  hair  and  general 
colouring  has  remained  dark  and  glossy." 

Of  another  he  writes  :  "I  found  it  had  acquired  a  kind  of 
insipid  fogginess,  indeed  there  was  a  little  mildew  on  its 
surface,  both  of  which  I  attribute  to  my  having  breathed 
upon  it  when  I  painted  it.  Glazed  the  dark  parts  with 
very  thin  and  pure  gum  arabic."  Of  the  changes  in  re- 
spect to  other  colours  he  writes  thus  :  "  Townsend's  purple 
had  become  cold  and  blue  ;  "  "  mineral  blue  has  faded  ;  " 
"  Reeves'  white  is  quite  permanent ;  "  "  the  madder  red 
is  not  good  ;  "  "  the  carmine  has  become  brownish  ;  " 
"  the  lake  on  the  waistcoat  has  stood  perfectly  ;  "  "  de- 
cided in  future  not  to  breathe  on  my  work ;  "  "  Soaked 
the  ivory  in  alum  water  but  find  no  special  benefit  there- 
from ;  "  "  White  sugar  candy  is  better  than  gum  ;  "  "  The 
constant  white  and  the  madder  red  have  stood  well ; " 
and  so  on. 

In  later  years,  he  took  to  referring  to  his  colours  by 
numbers,  but  as  the  volumes  do  not  contain  a  key  to  these 
numbers,  his  notes,  which  grow  fuller  and  fuller  in  detail 
as  they  go  on,  cease  to  have  the  special  artistic  value  which 
those  on  earlier  pages  possess.  He  also  records  the  fact 
that  he  has  made  many  experiments,  thus  :  "  Put  yellow 
paper  behind  the  head ;  "  "  put  silver  leaf  behind  the 
face  ;  "  "  polished  the  ivory  with  rust ;  "  or  "  with  glass 
paper,"  or  "  with  cuttlefish  bone,"  or  "  with  sandpaper," 


WILLIAM  WOOD  161 

or  "on  my  hand."  Again,  to  continue  this  phase  of 
interest,  he  speaks  of  destroying  certain  miniatures  in 
which  the  pigments  have  not  stood  and  of  painting  others 
for  his  clients  in  their  place,  although  such  entries  only 
happen  in  the  first  early  years.  He  often  tells  us,  moreover, 
later  on  in  his  ledgers  how  he  altered  miniatures  ;  for 
example,  on  the  portrait  of  Mrs.  Hyde,  late  of  Bengal, 
daughter  of  Lady  Frances  Seymour,  painted  in  1797,  he 
writes  :  "  In  April,  1801,  I  removed  Hair  from  the  neck 
and  threw  a  furred  satin  cloak  over  the  left  arm."  To 
Col.  Nightingale's  miniature  he  added  "  a  cross  belt." 
On  the  one  of  Mr.  Bourchier,  of  Harley  Street,  late  of 
Bombay,  he  substituted  "  a  dark  brown  coat  "  for  the 
"  light  coat ;  "  on  that  of  Mr.  Glennies,  of  Mincing  Lane,  he 
"  exposed  the  ear."  On  Captain  Smith's  he  altered  the 
uniform,  "  he  being  now  a  Colonel,"  while  on  Sir  John 
Stuart's  he  "  removed  the  Star  and  Crescent  and  added 
the  Ribband  and  Star  of  the  Bath." 

This  last  entry  brings  us  to  the  personal  interest  of  many 
of  the  entries,  as  apart  from  the  artistic.  He  speaks  of 
"  Meridith  Townsend,  of  Fairford,"  "late  dissenting  Min- 
ister at  Stoke  Newington,"  as  "  his  uncle."  Of  Mr.  Kelly 
in  "a  buff  waistcoat  and  blue  coat  about  60  "  as  the 
"  Doorkeeper  of  the  House  of  Commons."  Of  a  Mr. 
Stubble  as  the  artist  "  who  helped  me  paint  this."  Of 
Sir  William  Lemon,  whose  portrait  he  executed  in  August, 
1798,  "  shooting  himself  in  the  following  March."  Of 
Abraham  Newland,  whose  portrait  he  did  in  1791,  being  "  of 
The  Bank,"  he  being  in  fact  the  person  who  signed  the 
bank-notes  of  the  day,  and  of  whom  it  used  to  be  said 
that  although  a  person  might  "  sham  Abram,"  he  dared 
not  "  sham  Abraham  Newland."1  He  refers  to  the  por- 

1  Abraham  Newland,  one  of  the  most  famous  Chief  Cashiers  the 
Bank  ever  had.  Newland  is  said  to  have  composed  an  epitaph  for 
himself  in  these  terms  : 

Beneath  this  stone  old  Abraham  lies, 
Nobody  laughs  and  nobody  cries. 

M 


162  THE  MINIATURE  COLLECTOR 

traits  of  the  Misses  Dash  wood  as  being  painted  "  at 
Wooton."  Of  that  of  Mr.  Josiah  Thomas,  of  Bristol, 
having  been  "  presented  to  his  child,  my  God-daughter, 
/Etat  20."  Mrs.  Sampson,  of  Blackheath,  he  describes  as 
the  wife  of  Captain  Sampson,  of  the  Earl  St.  Vincent  East 
India  Co.,  Captain  Butler  as  "  brother  to  the  Earl  of 
Ormond,  and  in  the  I4th  Light  Dragoons,"  Mrs.  Browne 
as  "  now  living  with  Major  Thornton,"  Lord  Edward 
Fitzgerald  (a  miniature  now  at  Maynooth)  as  "  brother 
to  the  Duke  of  Leicester,  and  copied  from  a  bad  crayon 
picture."  Of  Miss  Barnard,  whose  portrait  he  painted 
at  the  request  of  a  Mr.  Hicks,  and  for  him,  he  mentions 
that  she  was  Mrs.  Hicks  when  she  sat  for  him  much  later 
on.  Mr.  Holmes  he  describes  as  sub-Dean  to  the  Chapel 
Royal,  St.  James',  Master  Norman  he  declares  was  the  son 
of  Lady  Elizabeth  Norman,  and  grandson  of  the  Duchess 
of  Rutland,  who  brought  the  child  for  his  portrait  and 
"  paid  for  it."  In  this  way  he  fills  his  pages  with  odd 
scraps  of  personal  information,  of  peculiar  interest  in  trac- 
ing the  miniatures  and  of  great  value  to  the  descendants 
of  those  who  sat  to  him.  There  are  numerous  instances 
in  which  whole  families  are  recorded,  and  his  pages  refer 
to  engagements,  to  marriages  and  to  babies,  linking  up 

Where  he  has  gone  and  how  he  fares, 
No  one  knows  and  no  one  cares. 
It  was  of  him  that  Dibdin  wrote  : 

There  ne'er  was  a  name  so  bandied  by  fame, 

Through  air  and  through  ocean  or  through  land, 
As  one  that  is  wrote  upon  every  bank-note, 
And  you  all  must  know  Abraham  Newland. 
O,  Abraham  Newland  ! 
Notorious  Abraham  Newland! 
I've  heard  people  say  "  Sham  Abram  you  may, 
But  you  mustn't  sham  Abraham  Newland." 
On  his  retirement  in  1807,  Newland  refused  a  pension,  but  accepted 
a  service  of  plate  valued  at  £  1,000.     He  died  in  the  following  year, 
leaving  legacies  to  many  of  his  old  colleagues.     For  a  quarter  of  a 
century  he  never  slept  outside  the  Bank.      Romney  painted  a 
portrait  of  him  when  he  was  a  young  man.      It  is  now  in  a  collec- 
tion in  Bristol. 


WILLIAM  WOOD  163 

one  portrait  with  another  in  interesting  fashion.     Further- 
more he  mentions  several  other  artists,  as  we  find  him 
engaged   in    copying   other    portraits    in    miniature.     In 
1791  he  copied  a  miniature  by  George  Engleheart  of  a  lady. 
In  1794  one  by  Cosway  belonging  to  Mrs.  Wood  and  one 
painted  in  oil  by  Smart  of  Mr.  Watts,  of  Bengal.     The 
miniature  of  Mr.  Sparkes,  deceased,  of  Blackheath,  was,  he 
says,  by  Mr.  Humphries  (sic),  and  was  brought  to  him  in 
X793  to  be  copied,  and  miniatures  by  Robinson,  of  Dublin, 
Trumbull,  Plimer,  of  Captain  Robertson;  Miss  Fouldstone, 
afterwards  Mrs.  Mee ;  of  Col.  Keppel  and  John  Downman, 
all  came  under  his  attention.     Moreover,  he  tells  us  that 
he  copied  in  miniature  a  crayon  picture  by  Russell,  of  the 
late  Miss  Knight,  of  Brompton,  and  two  oil  portraits  by 
Dance,  one  representing  Mrs.  Fen  wick,  also  one  in  oil  by 
Trumbull  of  Col.  Lawrence  at  the  surrender  of  Charles 
Town,  and  one  in  pencil  and  colour  by  Downman  of  the 
late  Mr.  Way,  of  Richmond  Green,  "  for  the  Cambridges." 
Of  the  man  himself  we  glean  but  little  from  his  ledgers, 
except  perhaps  a  sense  of  satisfaction  in  his  neatness, 
precise  habits,   caution,  and  his  love  of  examining  his 
miniatures  in  later  years  to  see  how  they  have  stood,  and 
to  record  in  his  pages  his  impressions  concerning  them. 
We  know  that  he  wore  a  blue  coat  with  a  red  collar  and  a 
straw-coloured   waistcoat,    because  he   painted   his   own 
portrait  in  that  attire  more  than  once.     We  find  that  he 
journeyed  to  Bristol  in  1791,  and  again  in  1803,  and  that 
he  was  in  Gloucester  in  1798.     In  these  places  he  had  many 
clients,  and  his  pages  abound  in  allusions  to  Bristol  mer- 
chants  and   their   families.     There   should   be   a   goodly 
proportion  of  his  miniatures  to  be  found  in  that  Western 
city.     We  gather  that  he  was  a  somewhat  vain  man,  as  he 
often  painted  his  own  portrait,  and  as  often  destroyed  it, 
"  not  being  really  like,"  or  "  not  true  in  likeness  and  colour- 
ing."    We  know  that  he  was  born  at  Ipswich  in  1768, 
or  at  least  either  in  the  town  or  near  to  it,  and  he  is  declared 


164  THE  MINIATURE  COLLECTOR 

to  have  come  from  an  old  Suffolk  Catholic  family  and  to 
have  been  specially  welcomed  in  Catholic  circles.  As  to 
this  part  of  the  story  I  have  my  doubts,  as  there  are  no 
Petres,  Traffords,  Blounts,  Throgmortons,  Holdens  (of 
Lancashire),  Ropers,  Towneleys,  or  any  other  notable 
Catholic  names  amongst  his  sitters,  and  I  believe  in  this 
he  has  been  confused  with  another  artist,  but  the  tradition 
may  be  a  true  one,  and  it  certainly  has  some  evidence 
in  support  of  it,  and  there  certainly  are  Jerninghams 
amongst  his  sitters. 

Of  his  skill  there  is  evidence  in  the  fact  that  he  exhibited 
year  after  year  in  the  Royal  Academy,  and  as  he  has 
recorded  the  names  of  the  portraits  he  sent  in  his  ledgers 
they  supply  many  that  are  missing  in  the  Academy  Cata- 
logues where  his  exhibits  are  chronicled.  In  some  instances 
Wood's  statement  falls  short  of  what  the  Academy  Cata- 
logues set  forth,  and  either  he  has  not  noted  down  all  the 
portraits  he  sent  in,  or  he  sent  in  some  later  on,  after  he 
had  prepared  his  notes  and  his  lists.  The  Academy  Cata- 
logues abound  in  allusions  to  a  portrait  of  a  lady  or  a 
gentleman,  without  name,  or  refer  to  a  frame  with  say 
five  or  seven  portraits  in  it,  and  many  of  these  anonymous 
works  can  be  named  from  Wood's  ledgers.  Of  107  of 
his  works  noted  in  the  Royal  Academy  Catalogues  only 
sixteen  have  names  attached  to  them,  but  many  of  the 
rest  can  now  be  identified. 

To  the  Royal  Academy  of  1788  he  is  declared  to  have 
sent  in  a  portrait  of  "  a  lady  "  which  was  certainly  not  a 
miniature,  as  his  first  was  not  painted  till  1790,  according 
to  his  own  statement.  There  is  no  initial  given  to  the 
Wood  who  appears  in  this  entry,  and  who  was  then  residing 
in  Knightsbridge,  and  I  have  the  gravest  doubt  as  to 
whether  the  entry  refers  to  our  artist.  It  is  much  more 
likely  to  refer  to  another  person  of  the  same  name. 

His  exhibits  in  1791,  when  the  entry  certainly  refers  to 
William  W7ood,  were  of  Mr.  Jackson,  of  Chancery  Lane 


WILLIAM  WOOD  165 

(5058),  and  of  Abraham  Newland,  of  the  Bank  (5062), 
and  this  latter  miniature  on  its  return  to  the  Academy  he 
altered,  at  the  request  of  Mrs.  Comthwait,  who  was,  I 
believe,  Newland's  niece  and  for  whom  he  painted  it, 
putting  on,  says  he,  "a  new  coat  of  cream  and  a  yellow 
waistcoat."  He  also  sent  in  portraits  of  Dr.  James  Wright, 
of  the  East  Indies  (5049),  James  Sumner,  Esq.,  of  Hamp- 
stead  (5050),  Mr.  Campbell,  of  Argyle  Street,  nephew  to 
the  Duke  of  Argyle  and  late  of  the  Guards  (5059),  and  of 
Colonel  Small  of  the  84th  Foot  (5065).  Wood  was  then 
living  at  30,  St.  James's  Place,  The  Academy  Catalogue 
mentions  that  he  exhibited  six  portraits  that  year,  and 
these  are  the  names  of  all  the  sitters.  To  the  Exhibition 
of  1792  he  sent  in  the  portrait  of  Mr.  Kelly,  Doorkeeper 
of  the  House  of  Commons  (5120),  his  own  portrait,  "  the 
summit  of  my  own  corporeal  parts,"  he  grandly  styles  it 
(5126),  a  fancy  dress  portrait  of  a  female  in  a  white  turban 
(5138),  Mr.  Stuart  M.  Fraser,  of  Bombay  (5139),  a  portrait 
of  his  father  (5140),  and  one  of  Sir  William  Skeffington, 
of  Skeffington,  Leicestershire  (5142).  The  Royal  Academy 
Catalogue  for  that  year  only  chronicles  five,  but  Wood 
writes  in  his  ledger  that  he  sent  in  six. 

In  the  following  year  his  exhibits  were  a  portrait  of  his 
sister  in  a  white  dress  (5158),  of  Mr.  Allen  (5188),  of  Master 
W.  Gilpin,  of  Paddington  (5207),  of  Mrs.  Lindsell,  of  Wim- 
pole  Street  (5208),  of  Mr.  John  Parker,  of  St.  Paul's  Church- 
yard (5213),  and  of  an  anonymous  lady  painted  for  Mr. 
Sheriff  (5216).  The  year  1794,  in  which  for  the  first  time 
he  fastened  a  tracing  of  a  miniature  into  his  ledgers,  is 
notable  for  the  fact  that  he  painted  four  eyes  of  Lady 
William  Russell  to  be  set  as  rings  (5314),  and  to  the  Academy 
he  forwarded  portraits  of  Miss  King,  of  Portland  Street 
(5256),  Miss  Reeves,  of  Hadley  (5262),  his  own  sister  again 
(5266),  Col.  Small,  in  full  Highland  uniform  (5276),  another 
portrait  of  himself  (5277),  one  of  Mr.  Comberbach,  of  Craven 
Street  (5285),  and  a  drawing  in  pencil  3j  by  5  inches  of 


166  THE  MINIATURE  COLLECTOR 

Mr.  Thomas  Bartley,  of  The  Temple,  with  the  head  and 
hands  tinted,  10009.  It  was  in  this  year  that  he  painted 
two  groups  of  the  Lambton  children  (5334),  and  a  drawing 
of  the  eye  of  one  of  them  for  a  ring  (5332).  He  then  was 
living  at  8,  Cork  Street.  The  Academy  catalogues  refer 
to  eleven  exhibits  that  year,  but  Wood,  it  will  be  seen, 
notes  down  only  seven.  Perhaps  the  Lambton  miniatures 
were  sent  in  late. 

To  the  Exhibition  of  1795  we  have  but  one  allusion  in 
Wood's  ledgers,  and  that  is  to  a  portrait  of  Mr.  Benion  of 
Wroxham  (5336),  although  the  Royal  Academy  Catalogues 
tell  us  that  he  sent  in  five  anonymous  works.     We  possess 
the  complete  list,  however,  for  1796.     It  was  composed 
of  portraits  of  Mrs.  George  Cambridge,  of  Twickenham 
(5363),  Mr.  Charles  Pepys,  of  Wimpole  Street  (5384),  Mrs. 
Evans,   of  Willingdon   (5389),   Major  Davis  of  the  93rd 
(5390),  Mr.  Mann,  of  the  Royal  Artillery  (5397),  Mr.  Riggs, 
of  Russell  Place  (5405),  and  a  third  portrait  of  his  own 
sister  (5409).     This  last  portrait  he  sent  in  again  to  the 
Academy  in  the  following  year  and  with  it  portraits  of 
Col.  James  Stuart,  of  the  2nd  Foot-guards  (5402),  Miss 
Knipe,  of  Limpsfield  (5436),  Mr.  George  Herbert,  of  ist 
Life-guards  (5468),  Mrs.  Jones  (5470),  Mr.  Charles  Riving- 
ton,  of  Southgate  (5482),  and  Miss  Taylor  (5486).     The 
Royal   Academy    Catalogue   gives    seven    entries,    Wood 
alludes  to  all  of  them.     There  is  a  longer  list  of  exhibits 
for  1798,  including  portraits  of  Master  Thomas  Stopford, 
of  Sloane  Street  (5503),  the  Hon.  Charlotte  Augusta  Keppel, 
of  Pall  Mall  (5505),  "  Shaick  Emaun  Bux,  a  Bengal  Gon- 
sumah,  in  white  muslin  with  a  scarlet  turban  " 1    (5511), 
Miss  Watts,  afterwards  Mrs.  Adam  Gordon  (5524),  Mrs. 
Francis  Henderson,  of  Ealing   (5525),   Mr.   James  Watts 
(5546),  Cynthia,  "  a  fancy  head,  surrounded  by  floating 

1  This  man  was  Khansamah,  butler  to  Lord  Mornington,r  after- 
wards Marquis  Welle sley,  who  embarked  for  India  at  Cowes  on 
November  8th,  1797.  Evidently  the  man  came  to  England  and  sat 
for  his  portrait,  as  Wood  was  never  in  India. 


WILLIAM  WOOD  167 

clouds,"  which  Wood  exhibited  in  1807  at  the  British 
Institution,  and  eventually  sold  to  Mr.  Chamberlayne,  of 
Southampton  (5565),  and  Mr.  William  Abington,  of  East 
India  House,  which  he  gave  to  his  sister  on  her  marriage 
to  that  gentleman  on  April  20th,  1799  (5567).  In  1799, 
the  Academy  Catalogue  gives  seven  exhibits,  and  Wood 
refers  to  all  of  them.  The  portraits  he  chronicles  are  those 
of  Mr.  Munden,  of  Co  vent  Garden  Theatre  (5539),  Mr. 
William  Ramsay,  Secretary  to  the  East  India  Company 
(5595)*  Miss  Maria  Holmes,  of  Westcombe  Park,  Green- 
wich (5616),  Admiral  Gumming,  of  Greenwich  (5622),  Miss 
Letitia  Knox,  of  Soho  Square  (5628),  Mr.  John  Dougan,  of 
Welbeck  Street  (5635),  and  Mr.  Jefferies,  of  Basinghall 
Street  (5656).  The  1800  Exhibition  had  seven  exhibits 
from  Wood,  which  included  a  second  portrait  of  Miss 
Watts,  of  Hollis  Street,  as  by  then  she  had  become  Mrs. 
Adam  Gordon  (5513),  and  others  of  Mr.  George  Billings- 
hurst,  of  the  7th  Dragoons  (5697),  Mr.  John  Vaux,  of  Austin 
Friars  (5709),  (misprinted  Vair  in  the  Royal  Academy 
Catalogue),  Mrs.  Campbell  as  "  The  Circassian,"  in  a  white 
dress  with  a  large  turban,  and  in  which  Wood  says  for 
experiment  sake  all  the  colours  were  worked  with  pure 
distilled  vinegar  instead  of  with  water,  and  a  new  Chinese 
lead  colour  used  for  the  whites  of  the  costume  (5711),  Lt.- 
Col.  Crewe,  of  Crewe  Hall,  Norfolk  (5723),  a  Chinese  man,  a 
servant  to  Mr.  Hobson  of  the  East  Indiaman  Armiston,  whose 
own  portrait  Wood  had  painted  in  1798  (5727),  and  Mr. 
Keighly,  of  Hertford  Street,  Mayfair,  whom  Wood  says 
had  a  "  glowing  and  healthy  complexion  "  (5730). 

There  was  only  one  exhibit  in  1801  as  far  as  the  books 
record,  a  portrait  of  Miss  Sarah  Ann  Acraman,  of  Bristol. 
In  the  carelessly  compiled  Royal  Academy  Catalogue,  this 
is  called  a  portrait  of  "  a  young  gentleman."  By  1802, 
however,  when  Wood  was  back  again  in  London,  the 
numbers  mounted  up.  In  that  year  we  find  he  exhibited 
portraits  of  Mr.  Fletcher,  son  of  SirH.  Fletcher,  of  Cumber- 


168  THE  MINIATURE  COLLECTOR 

land  (5756),  Master  Lewis  Way,  of  Richmond  Green,  com- 
missioned, he  records,  by  "the  Cambridges"  and  mounted 
by  "  Gray  of  Sackville  Street,"  the  boy  who  afterwards 
became  first  a  barrister  and  then  an  English  Protestant 
minister  in  Paris,  especially  interested  in  the  conversion  of 
Jews  (5780) ;  Mr.  Joseph  Clay,  of  Old  Broad  Street  (5787), 
three  children  of  the  Acraman  family  as  cherubs,  a  very 
successful  portrait  which  in  1807  he  exhibited  again  at  the 
British  Institution  (5793),  Miss  Ann  Captal,  of  Bruton 
Street  (so  far  as  the  name  can  be  made  out  in  Wood's 
ledger)  (5843),  Mr.  J.  D.  Paul,  of  The  Strand,  Banker1 
(afterwards  the  notorious  Sir  J.  Dean  Paul,  of  Strahan) 
Paul  and  Bates,  who  failed  in  1856,  having  been  found 
guilty  of  fraud,  and  who  were  all  sent  to  penal  servitude 
(5863),  and  Mr.  Robert  Jackson,  of  Earl  Street,  Blackfriars, 
a  portrait  which  Wood  mentions  was  handsomely  set  by 
the  Crown  jewellers  Rumbell  and  Bridge  (5900). 

The  Royal  Academy  catalogues  refer  to  a  portrait  of  a 
Miss  Menage,  a  dancer,  "  in  her  celebrated  hornpipe," 
but  this  I  feel  quite  sure  must  have  been  exhibited  by 
another  artist  named  Wood. 

In  1803  there  were  five  exhibits  according  to  Wood's 
ledgers,  a  miniature  of  a  Mr.  Miller,  of  America  (5821),  with 
which  Wood  was  dissatisfied,  three  other  miniatures  and 
a  drawing.  The  portrait  of  Miller,  Wood  retained  when  it 
came  back  from  the  Academy,  and  painted  a  fresh  one 
from  it  for  his  client.  The  drawing  was  on  vellum  in  black 
lead  with  chalk,  and  measured  nj  inches  by  8J  inches. 
It  represented  Mrs.  Robert  Bristow,  of  Great  Queen  Street, 
Westminster.  He  regarded  it  as  a  very  happy  effort, 
and  made  a  charming  sketch  of  it  against  the  entry  in  his 
ledger.  Its  number  was  10045.  The  Royal  Academy 
Catalogue  refers  specially  to  the  portrait  of  the  lady.  The 
other  three  miniatures  were  portraits  of  Lt.-Col.  Dyke, 

1  The  Bank  was  at  the  Golden  Anchor  in  the  Strand  and  was 
eventually  taken  over  by  the  London  and  Westminster. 


WILLIAM  WOOD  169 

of  the  Coldstream  Guards  (5936),  Mrs.  Cresswell  (Letitia),  of 
Duke  Street,  Manchester  Square  (5944),  and  Mrs.  Cooke 
(5967).  Three  miniatures  are  referred  to  in  connection 
with  the  Academy  of  1804,  the  portrait  of  Miss  Johnston 
(6052),  wearing  a  necklace,  painted  in  distilled  vinegar, 
and  those  of  Mr.  Hummell,  jun.  (a  musician)  (6020),  and 
of  Capt.  Stirling,  of  the  Foot-guards  (6038).  In  the  follow- 
ing year  the  Academy  Catalogue  states  that  Wood  exhibited 
five  portraits.  He  records  them  as  portraits  of  Miss 
Williams,  commissioned  by  Capt.  Birch  (5804),  a  Mr.  W. 
Williams,  of  the  East  Indiaman  Warley,  a  sitter  who  had 
sat  to  Wood  twice  before  (5970),  Capt.  Hood,  of  the  Third 
Life-guards,  grandson  to  Lord  Hood,  which  was  commis- 
sioned, Wood  tells  us,  by  Lady  Hammond  (6044),  Maj.- 
Gen.  Sir  John  Stuart  (6073),  and  Mrs.  Hay  Drummond, 
of  Hadleigh  (6080). 

For  1806  there  are  no  exhibits  at  all,  but  Wood  sent  in 
three  miniatures  and  three  drawings  in  1807.  The  minia- 
tures were  those  of  Mr.  Thompson,  dentist,  of  George  Street, 
Hanover  Square  (6112),  Miss  Smith  (6126),  and  Mrs. 
Benjamin  Wyatt,  of  Buckingham  Street,  Fitzroy  Square 
(6136).  The  drawings  were  portraits  of  Lady  Hartwell, 
wife  of  Sir  F.  Hartwell,  Bart.,  which  was  presented  to  her 
son,  Houblon  Hartwell,  on  July  4th,  1806,  and  engraved 
by  Evans  in  1809  (10083),  a  drawing  on  thick  Bristol 
board ;  one  of  Miss  Anna  Phipps,  of  Cork  Street,  when 
about  four  years  old,  on  yellowish  vellum,  which  Wood 
gave  to  her  brother  Wathem  Phipps,  who  was  his  godson, 
on  January  loth,  1807,  and  whose  portrait  at  the  age  of 
3j  he  painted  a  little  later  as  a  companion  work  (10090), 
and  a  head  only  of  Mr.  Robert  Cockerell,  of  Westbourne 
House,  Paddington,  on  Bristol  paper  (10093).  This  was 
the  last  year  in  which  Wood  exhibited  at  the  Roya 
Academy,  but  to  an  exhibition  in  Brook  Street,  in  1808, 
he  sent  in  three  miniatures  and  five  drawings.  The 
miniatures  were  those  of  Miss  Sophia  Simpson,  of  John 


170  THE  MINIATURE  COLLECTOR 

Street,  aged  21,  on  dark  opaque  ivory  (6169),  of  His  Royal 
Highness  the  Duke  of  Gloucester  in  General's  uniform, 
commissioned  by  Sir  William  Beechey,  after  his  large  por- 
traits of  the  prints  (6189),  and  of  Captain  Richard  Peirson, 
of  the  Royal  Navy,  son,  he  says,  of  the  late  Sir  R.  Peirson, 
and  who  had  sat  to  him  already  in  1805  on  a  commission 
from  Miss  Peirson  (6205). 

The  drawings  were  as  follows  :  Cupid  reading,  in  a 
Landscape.  A  whole  length  on  Bristol  stamped  paper 
with  Galliards  crayons,  stumped  on,  usual  miniature 
water-colours  and  red  and  black  chalk  pencils,  a  drawing 
<8|  in.  X  nj  in.  on  which  Wood  says  he  inscribed  "  Mon 
grand  ami  "in  "  allusion  to  the  number  of  sitters  produced 
by  Love,"  and  of  which  he  was  very  proud  (10023).  Two 
heads  of  the  Misses  Gordon,  of  Harley  Street,  aged  6  and 
5,  which  he  did  for  himself  on  thick  Bristol  paper  (10092), 
a  finished  drawing  of  his  design  for  a  Pyramid,  to  illus- 
trate his  Essay  on  Sepulchral  Monuments  which  was 
engraved  by  Moses  to  illustrate  the  Essay  and  was  drawn 
on  Winchester's  imitation  of  Dutch  cartridge  (10108), 
a  portrait  of  Miss  Brooke,  of  Cork  Street,  at  the  age  of  24, 
done  on  tragacanth'd  Bristol  card  and  for  which  she  sat 
at  his  particular  request  (10102),  and  finally  a  drawing 
of  a  head  of  Dr.  Clarke,  of  New  Burlington  Street,  on  white 
vellum  (10096). 

The  Exhibition  at  20,  Lower  Brook  Street,  Grosvenor 
Square,  was  in  connection  with  a  Society  of  Associated 
Artists  in  Water-colour  of  which  Wood  was  the  founder, 
and  for  which  he  acted  as  President  for  one  year  only, 
being  succeeded  to  the  Chair  by  David  Cox.  It  was  a 
short-lived  effort  to  unite  Miniature  Painters  with  those 
who  practised  the  comparatively  new  art  of  Water-colour 
Painting ;  and  although  it  lasted  but  some  five  years,  it  yet 
prepared  the  way  for  the  Water-colours  Society,  which 
followed  it,  and  which  eventually  became  known  as  the 
Old  Water-colour  Society. 


WILLIAM  WOOD  171 

Its  second  Exhibition  was  at  101,  New  Bond  Street, 
and  Benjamin  West  was  the  guest  of  honour  at  the  opening- 
dinner  at  the  Portland  Coffee  House.  The  third  and  fourth 
and  fifth  Exhibitions  were  at  16,  Old  Bond  Street,  and  then 
the  Society  collapsed.  Andrew  Roberts  had  been  its 
secretary,  and  Wood  was  spoken  of  in  its  minutes  as  that 
"  worthy  and  indefatigable  gentleman  "  to  whom  the 
Society  owed  "  its  very  existence,"  but  he  had  passed 
away  before  the  Society  got  into  difficulties,  and  was  there- 
fore spared  the  misery  of  seeing  his  pet  creation  disappear. 

In  this  same  year  Wood  published  his  Essay  on  National 
and  Sepulchral  Monuments,  now  a  very  rare  book,  and  in 
the  following  year,  that  is  to  say  on  November  I5th,  1809,. 
he  died  at  the  early  age  of  41.  He  was  therefore  only  19 
when  he  commenced  to  paint  miniatures,  and  he  must  have 
led  a  most  industrious  life  to  produce  all  the  portraits 
which  are  carefully  chronicled.  From  1807  he  appears  to 
have  taken  greater  interest  in  water-colour  drawing  than 
in  miniature  portraits,  and  the  works  of  his  latest  two  years 
are  entirely  landscapes.  In  March,  1809,  he  was  in  North- 
ern Wales,  hard  at  work  sketching,  and  he  chronicles,  in 
most  painstaking  manner,  exactly  how  he  prepared  23 
drawings  which  represent  the  most  important  places  and 
the  most  picturesque  scenes  in  that  country.  .Then  on 
returning  to  London  he  was  attracted  by  lithography,. 
"  drawing  in  chalk  or  pen  and  ink  on  stone,"  as  he  calls  it, 
and  produced  two  works  representing  Two  Choristers,, 
impressions  of  which  he  distributed  to  33  friends  and 
carefully  notes  down  their  names.  The  list  includes 
Princess  Elizabeth,  Mr.  Caleb  Whitefoorde,  Sir  John  Stuart, 
Lady  Sophia  Grey,  Mr.  Cambridge,  and  Miss  Lushington. 
Finally,  at  the  end  of  his  life  he  interested  himself  in 
planning  and  laying  out  gardens  and  parks,  and  the  last 
entry  in  his  book  is  a  plan  for  the  Tower  Bank  and  Shrub- 
bery at  Shrubland  Park,  which  he  had  commenced  to  plan 
in  1807,  and  about  which  he  has  left  a  lengthy  and  instruc- 


172  THE  MINIATURE  COLLECTOR 

tive  essay  in  manuscript.  His  notes  on  his  water-colour 
work  are  marked  with  the  same  precision  and  allusion  to 
pigments  as  characterise  his  miniatures,  and  there  is  no 
doubt  he  was  a  careful  and  methodical  man  in  every 
respect,  as  well  as  an  artist  of  no  mean  repute,  as  his  draw- 
ings and  miniatures  remain  to  testify.  Into  whose  hands 
his  ledgers  fell  after  his  decease,  I  am  unable  to  state,  but 
the  owner  was  evidently  a  personal  friend,  because  there  is 
a  note  in  the  final  volume,  in  that  person's  handwriting, 
stating  that  at  Wood's  request  he  had  selected  one  of  his 
drawings  as  a  memento,  and  had  picked  out  the  drawing  of 
the  Pyramid  (10108),  which  was  used  to  illustrate  the 
Essay,  as  a  worthy  remembrance  of  his  departed  friend. 
Two  of  Wood's  miniature  portraits  are  in  the  possession 
of  the  Earl  of  Dysart  at  Ham  House,  three  are  in  America, 
in  the  Pierpont  Morgan  collection,  one  in  Lincoln  in  the 
Ward  Usher  collection,1  one  of  his  drawings  belongs  to 
the  King's  at  Windsor  Castle,  another  is  the  property  of  the 
nation,  at  South  Kensington.  A  few  other  miniatures  by 
him  are  known  in  various  collections,  but  the  bulk  of  his 
work  has  not  hitherto  been  identified.  Many  of  his  por- 
traits are  no  doubt  attributed  to  the  wrong  artist,  and  it 
will  be  interesting  for  the  collector,  to  whom  this  book  is 
addressed,  to  find  out  the  miniatures  that  Wood  painted, 
and  to  gather  up  information  concerning  them. 

One  of  the  very  few  contemporary  references  to  Wood 
occurs  in  a  letter  written  by  Frances  Lady  Jerningham, 
who  was  one  of  the  daughters  and  heirs  of  Edward  Sulyard, 
of  Haughley  in  Suffolk,  in  1800,  in  which,  after  mentioning 
that  George  Jerningham 's  wife  Fanny  was  sitting  for  her 
picture  to  Hoppner,  she  adds  :  "Wood  the  miniature  painter 
has  done  her  also  for  me  tolerably  well.  It  is  very  difficult 
to  make  a  good  picture  of  so  handsome  a  person.  There 
is  certainly  no  woman  in  town  so  handsome  as  she  is, 

1  Called  a  portrait  of  Abdul  Khan  and  dated  1799.  There  must 
surely  be  some  other  name  to  follow  Abd,  ul  —  "  Slave  of  the  "  ? 


WILLIAM  WOOD  173 

Miss  Jennings  the  celebrated  beauty  not  except ed.  She 
has  her  health  much  better  since  she  has  been  in  town,  and 
will  return  here  (that  is  to  Costessey)  in  the  autumn  to 
lie  in." 

Wood's  ledgers  give  us  the  information  concerning  the 
portrait  hi  question,  and  they  also  add  the  fact  that  the 
same  painter  copied  in  miniature  the  painting  which 
Hoppner  had  executed  in  oil.  The  first  miniature  was 
begun  on  May  igth,  1800,  and  was  finished  on  June  2oth. 
It  was  quite  a  large  miniature,  painted  with  what  Wood 
called  "  the  averted  eye."  He  says  that  she  had  "  a  cool- 
toned  brunette  complexion,"  that  there  was  a  good  deal 
of  red  in  the  picture,  that  she  had  dark  hair,  and  that  the 
lady  wore  a  wreath,  by  which  no  doubt  it  could  be  identi- 
fied, as  it  is  not  one  of  the  portraits  of  which  Wood  gives  a 
tracing.  At  the  back  of  it,  in  order  to  increase  the  effect, 
he  put  a  piece  of  what  he  calls  "  warm  white  paper."  He 
had  nine  guineas  for  the  portrait.  The  copy  after  Hoppner 
was  No.  822,  and  was  begun  on  February  27th,  1801,, 
finished  on  March  loth,  and  delivered  and  paid  for  on  the 
28th.  The  price  he  obtained  for  it  was  eight  guineas. 

It  was  an  equally  large  miniature  to  the  other  one,  and 
the  lady,  who  on  this  occasion  he  declared  to  have  had 
brown  hair,  and  a  fine  clear  complexion,  was  dressed  in 
loose  yellow  drapery.  She  had  evidently  very  beautiful 
eyes,  because  he  refers  with  particular  care  to  the  efforts 
he  made  and  the  pigments  he  used  in  order  to  present  a 
truthful  representation  of  these  special  features  of  her  face. 
He  regarded  the  miniature  as  a  strong  one,  and  said  that 
it  had  to  be  painted  on  ivory  very  highly  polished  in  order 
to  produce  the  effect.  The  background  to  it  was  composed 
of  black  and  gamboge,  and  as  it  was  a  copy  of  an  oil  paint- 
ing, all  the  colours  were  richly  treated  with  gum. 


CHAPTER  XIV 

THE   LESSER   MEN   OF  THE   EIGHTEENTH   CENTURY 


IT  would  be  impossible  in  such  a  book  as  this  to  refer 
even  to  a  tithe  of  the  miniature  painters  who  exhibited 
at  the  Royal  Academy  in  the  eighteenth  century. 
Their  works  may  very  likely  constitute  the  greater  part 
of  the  amateur  collector's  possessions,  and  where  he  is 
able  to  identify  the  signature  or  initials,  he  will  have  to 
look  up  the  history  of  the  painter,  in  question,  in  the  various 
books  of  reference.  Thus  he  will  find  whether  the  artist 
exhibited  at  the  Royal  Academy,  and  trace  his  exhibits, 
in  the  hope  of  discovering  the  special  portrait  amongst 
them,  or  will  investigate  the  various  miniature  painters 
whose  initials  may  correspond  to  those  on  the  portrait 
he  has  purchased,  to  ascertain  who  was  responsible  for 
that  particular  picture.  Where  the  miniature  has  no 
signature  nor  initials,  and  there  is  no  clue  to  its  identity 
to  be  discovered  from  the  paper  at  its  back,  then  he  will 
have  to  content  himself  with  taking  the  advice  of  those 
qualified  to  assist  him,  or  form  on  his  own  judgment  an 
opinion  as  to  the  artist,  although  he  must  heed  not  to  be 
too  emphatic  if  there  be  any  doubt  whatever  as  to  the  cor- 
rectness of  his  attribution.  The  lives  of  all  the  principal 
painters  are  described  in  the  various  books  of  reference  on 
the  subject,  and  much  information,  often  very  brief  and 
scrappy,  concerning  the  lesser  known  men  can  be  obtained 
from  the  dictionaries  of  artists,  and  similar  books ;  but  in 
its  early  days  the  Academy  was  full  of  the  work  of  various 

174 


THE  LESSER  MEN  175 

miniature  painters,  some  of  whom  can  be  identified,  and 
many  are  wholly  unknown,  and  it  will  be  impossible,  save 
in  a  book  of  very  large  proportions,  to  deal,  even  in 
the  briefest  possible  fashion,  with  more  than  a  small 
proportion  of  them.  There  are  perhaps  about  half  a 
dozen  who  ought  to  be  singled  out  for  special  reference, 
prominent  among  whom  is  Samuel  Shelley.  A  miniature 
by  this  painter  realised,  quite  recently,  a  record  price, 
fetching  nearly  six  hundred  pounds  at  Christie's.  No 
portrait  by  Shelley  has  hitherto  ever  reached  a  sum  even 
approximating  to  that  price.  This  happened  to  be  a  very 
remarkable  work,  perhaps  the  best  he  ever  painted,  and 
there  was  a  great  demand  for  it  on  the  part  of  several  col- 
lectors. Shelley's  best  miniatures  almost  always  represent 
groups.  He  certainly  did  paint  single  portraits,  and  some- 
times quite  well  :  one  of  the  Marchioness  of  Thomond  is  a 
charming  little  portrait,  but  his  best  represent  two  or  more 
persons,  and  generally,  a  mother  and  child. 

He  was  a  Londoner,  born  in  Whitechapel  in  1750,  the 
son  of  a  shoemaker,  and  was  mainly  self-educated.  He 
gained  a  premium  in  the  Society  of  Arts  in  1770,  but  he  went 
to  no  art  school  save,  to  use  his  own  words,  "  the  one  which 
every  man  may  attend  who  studies  good  pictures."  He 
exhibited  about  140  works  at  the  Royal  Academy,  became 
a  well-known  man,  and  was  responsible  for  the  formation 
of  the  Society  of  Painters  in  Water-colours,  the  first  meet- 
ing of  which  was  held  at  his  own  house.  He  was  possessed 
of  a  somewhat  irritable  temperament,  and,  after  being 
associated  with  the  Society  he  had  founded,  was  concerned 
in  the  formation  of  a  rival  Society.  He  was  keen-eyed,  a 
bright  and  rather  amusing  man,  a  good  singer,  and  one  who 
could  tell  a  good  story,  and  in  consequence  was  very  popu- 
lar. His  work  and  his  fees  steadily  increased,  and  from 
Whitechapel  he  migrated  to  more  and  more  aristocratic 
positions,  coming  at  last  to  settle  down  in  George  Street, 
Hanover  Square,  where  he  died  in  1808. 


176  THE  MINIATURE  COLLECTOR 


PLATE  XXVII. 
THE  END  OF  THE  STORY. 

Sketch  in  water-colour  on  ivory  for  a  portrait  in  pastel  of  George  IV 
when  Prince  Regent.      By  John  Russell,  R.A.  (1745-1806). 
Collection  of  Dr.  G.  C.  Williamson. 


PLATE    XXVII 


•r 


THE  LESSER  MEN  177 

His  miniatures  have  one  curious  characteristic.  He 
frequently  used  the  ovals  lengthwise,  so  that  his  miniatures 
can  be  recognised  in  the  cabinet  by  the  mere  appearance 
of  their  position  and  shape,  lying  on  their  side,  as  it  were, 
rather  than  erect  upon  the  major  axis  of  the  ellipse.  His 
colouring  was  on  the  pale  side,  quiet,  grey  and  light,  but 
many  of  his  groups  are  really  delightful. 

The  man  who  was  the  first  to  exhibit  miniatures  at  the 
Royal  Academy  was  an  artist  named  Scouler,  who  has 
only  recently  become  well  known.  His  miniatures  are 
always  small — indeed,  exceedingly  minute — and  are  often 
very  beautiful.  He  one  day  produced  a  sketch  of  George  III. 
on  his  own  thumb-nail,  when  at  the  theatre.  He  painted 
his  own  portrait  several  times  on  very  small  pieces  of 
ivory,  and  he  is  also  known  for  a  notable  portrait  of  Lady 
Mary  Wortley  Montagu  in  my  own  collection. 

Another  painter  who  should  be  mentioned  was  the 
quarrelsome  Nathaniel  Hone,  a  passionate  man,  who  got 
into  serious  difficulties  with  the  Royal  Academy  on  account 
of  his  painting  called  "  The  Conjuror,"  which  was  supposed 
to  be  an  attack  upon  the  personal  character  of  Angelica 
Kauffmann,  and  so,  indirectly,  upon  Sir  Joshua  Reynolds, 
who  was  much  attached  to  that  fair  artist.  The  Royal 
Academy  insisted  upon  the  removal  of  the  work,  and, 
subsequently,  Hone  opened  an  exhibition  at  70,  St.  Martin's 
Lane — the  first  one-man  show  of  which  we  have  any 
references — and  produced  a  special  catalogue,1  which  he 
sold  himself.  In  it,  he  gives  in  detail  the  whole  story ; 
copies  the  letters  he  received  from  Angelica  Kauffmann  and 
from  the  authorities  of  the  Royal  Academy  ;  gives  his 
own  explanation  ;  and  appeals  to  the  public  to  do  him 
justice.  At  this  exhibition,  he  exhibited  many  of  his 
portraits,  but  after  it  was  all  over,  he  made  up  the  quarrel 
with  the  Academy,  and  continued  to  exhibit  there  down  to 

1  In  the  writer's  possession  is  the  painter's  own  copy. 

N 


178  THE  MINIATURE  COLLECTOR 

the  time  of  his  death,  which  occurred  in  1784,  in  his 
sixty-seventh  year. 

Another  notable  man  was  Jeremiah  Meyer,  who,  in  paint- 
ing his  miniatures,  was  fond  of  a  peculiarly  cold  shade  of 
blue,  by  which  sometimes  his  works  can  be  recognised. 
He  was  a  Wiirtemberg  man,  and  came  to  England  when  he 
was  fourteen.  He  was,  for  a  while,  a  pupil  of  Zincke, 
who  received  £200  for  two  years'  training,  then  he  worked 
for  a  little  time  in  Reynolds'  studio,  and  in  1763  became 
naturalised,  later  on  being  appointed  miniature  painter 
to  the  Queen,  and  then  enamel  painter  to  the  King.  He 
is  rather  well  remembered  by  reason  of  his  daughter, 
Mary  Meyer.  She  was  a  very  popular  girl,  although  very 
much  of  a  tomboy.  She  it  was  who,  when  sitting  to  Sir 
Joshua,  managed  to  rip  up,  rather  cleverly,  the  seams  of 
a  large  pillow  of  feathers  on  which  the  President  was  in 
the  habit  of  reclining,  and,  in  consequence,  when  he 
suddenly  sat  down  to  rest  and  to  judge  of  the  effect  of 
the  picture  he  had  been  painting,  he  was  covered  with 
feathers,  which  clung  to  his  velvet  jacket  in  all  directions. 
Mary  Meyer's  father,  who  was  present,  is  said  to  have 
been  extremely  angry,  and  to  have  attempted  immediate 
corporal  punishment,  but  the  girl,  who  was  very  pretty 
and  amusing,  was  rescued  from  her  father's  hands  by  the 
President,  who  declared  that  it  was  only  the  act  of  a 
mischievous  kitten.  On  another  occasion,  this  same 
young  lady,  dressed  up  in  male  costume,  stopped  a  solitary 
rider  on  Hounslow  Heath,  demanding  his  purse.  Unluckily, 
the  man  she  accosted  happened  to  be  George  Engleheart, 
the  miniature  painter,  who  knew  her  parents  well,  and 
he  took  possession  of  her,  and,  making  her  ride  pillion 
behind  him,  handed  her  back  to  the  care  of  her 
parents. 

Bogle  was  another  notable  man,  who  painted  extremely 
beautiful  miniatures.  He  is  called  by  Cunningham  "a 
little,  lame  man,  very  poor,  very  proud,  and  very  singular.'* 


THE   LESSER  MEN  179 

His  works  are  exquisitely  modelled,  with  exceedingly 
minute  handling. 

Horace  Hone,  who  was  Nathaniel  Hone's  nephew, 
was  also  a  skilful  miniature  painter. 

James  Nixon  founded  his  work  upon  that  of  Reynolds, 
and  his  miniatures  show  striking  resemblances  to  those 
of  the  great  President. 

John  Donaldson  was  an  eccentric  and  extraordinary 
Scotsman,  a  chemist,  a  vegetarian,  a  poet  and  a  preacher. 
His  work  can  often  be  distinguished  by  eccentricities  in 
colouring,  which  make  it  different  from  that  of  any  other 
artist  of  the  day. 

J.  Hill,  about  whom  we  know  very  little,  was  capable 
at  times  of  superb  work.  One  of  his  miniatures,  in  Lord 
Hothfield's  collection,  representing  the  first  Lord  Gwydyr 
in  a  scarlet  coat  with  gold  buttons,  is  as  fine  a  portrait 
as  any  miniaturist  of  the  day  was  able  to  produce,  but 
Hill  was  a  very  unequal  artist,  and  seldom  worked  up  to 
that  high  level. 

William  Grimaldi,  a  member  of  the  great  Genoese 
family  of  dei  Grimaldi,  was  miniature  painter  to  George  IV., 
but  was  especially  renowned  for  his  work  in  enamel, 
which  was  of  unusual  excellence.  He  produced  a  great 
many  miniatures,  many  quite  agreeable  and  well  painted. 

W.  S.  Lethbridge,  who  as  a  lad  was  apprenticed  to  a 
house  painter,  and  later  on  studied  at  the  Academy 
School,  was  a  very  skilful  painter,  and  was  responsible 
for  a  well-known  portrait  of  Dr.  Wolcot  (Peter  Pindar). 

Amongst  Irish  artists,  Walter  and  Charles  Robertson 
were  capable  of  exceedingly  good  work.  They  were  the 
sons  of  a  Dublin  jeweller,  who  was  noted  for  producing 
elegant  designs  in  hair,  and  even  likenesses  in  that  some- 
what unpromising  material.  Other  Irish  painters  were 
John  Comerford,  who  was  perhaps  the  best  of  the  Irish 
school ;  and  Bull,  who  was  a  student  of  the  Dublin 
Society's  schools. 


i8o  THE  MINIATURE   COLLECTOR 


PLATE  XXVIII. 
THE  END  OF  THE  STORY. 

1.  The  Artist's  nephew.     By  William  Singleton  (Fl.   1770-1790). 

Exhibited  at  the  R.A.  in  1787.     Signed. 
Formerly  in  the  Wellesley  Collection. 

2.  Colonel  Graham.     By  John  Bogle  (Fl.  1769-1803).     Signed  and 

dated  1797. 

Formerly  in  the  Wellesley  Collection. 

3.  Philip  and  John,  elder  sons  of  J.  B.  Church,  M.P.  for  Wendover. 

By  Richard  Cosway,  R.A.  (1742-1821). 
Formerly  in  the  Wellesley  Collection. 

4.  John  Flaxman,  R.A.     By  Ozias  Humphry,  R.A.  (1742-1810). 

Formerly  in  the  Wellesley  Collection. 

5.  A  Man,  name  unknown.     By  John  Smart,  Junior  (ob.  1806). 

Signed  and  dated. 

Collection  of  Dr.  G.  C.  Williamson. 

6.  The  King  of  Rome  as  a  Child,  1811-1832.     By  J.  B.  Isabey 

(1767-1855).     Signed. 

In  the  Collection  of  the  Duke  of  Portland,  K.G. 


PLATE    XXVIII 


THE  LESSER  MEN  181 

Other  clever  painters  were  Adam  Buck,  who  drew 
many  of  his  best  works  in  exact  profile ;  Thomas 
Day ;  John  Plott,  the  naturalist,  who  drew  snails  and 
shells  with  such  exquisite  skill ;  John  Alefounder,  who 
was  a  constant  exhibitor  at  the  Royal  Academy  in  the 
eighteenth  century,  and  many  of  whose  portraits  were 
engraved,  and  who  was  the  son  of  a  gold  frame  maker ; 
George  Chinnery,  who  went  out  to  the  East  and  painted 
many  of  his  best  miniatures  in  Cochin-China  and  Macao 
and  Siam  ;  Samuel  Collins,  a  disgraceful  man,  but  a  clever 
artist,  to  whom  Ozias  Humphry  was  apprenticed  ;  Daniel 
Orme,  an  Irishman,  whose  works  are  marvels  of  elaborate 
stippling  ;  Paul  Jean,  the  Guernsey  painter ;  Bowyer, 
whose  work  somewhat  resembles  that  of  Smart ;  and 
Barber  Beaumont,  who  was  at  one  time  a  painter  of 
theatrical  celebrities,  and  who  did  some  skilful  miniatures. 
All  these  are  men  who  must  be  mentioned,  but  about 
whom  further  details  should  be  sought  in  larger  books  of 
reference. 

Finally,  it  may  be  well  just  to  refer  to  Louis  Vaslet, 
who  practised  at  York  in  1770,  and  at  Bath  in  1775, 
and  who,  on  several  occasions,  was  painting  in  Oxford, 
because  his  principal  works  were  in  pastel ;  and  his 
miniatures  betray  a  curious  flocculent,  loose  technique, 
and  a  cold  colouring  that  marks  out  a  painter  in  pastel 
who  only  very  occasionally  painted  miniatures. 


CHAPTER  XV. 

THE   END   OF   THE   STORY. 


THE  notable  man  of  the  concluding  period  of  minia- 
ture art  was  Andrew  Robertson,  who  forms  an 
interesting  link  between  the  great  men  of  the 
eighteenth  century  and  the  miniature  painters  who  were  the 
last  of  their  order,  since  he  came  into  contact  with  Cosway, 
Humphry  and  Shelley,  and  received  commendation 
from  all  of  them.  Robertson  is  also  particularly  interesting 
from  a  painter's  point  of  view,  because  he  left  behind  him 
a  quantity  of  documents  concerning  his  art,  and  some  very 
interesting  letters  about  the  painters  of  the  day,  all  of 
which  were  published  by  his  daughter,  Miss  Emily 
Robertson,  who  only  died  a  short  time  since,  and  who 
brought  out  an  interesting, — "  Life  and  Letters  "  of  her 
father. 

He  was  a  Scotsman,  born  at  Aberdeen  in  1777,  and  was 
intended  at  first  for  the  medical  profession,  but  he  was 
much  interested  in  art,  and  when  only  sixteen  determined 
to  throw  up  the  idea  of  medicine  and  to  study  landscape 
and  sea  painting.  Even  by  that  time  he  had  produced 
some  miniatures,  which  he  used  to  carry  about  with  him, 
and,  presently,  making  up  his  mind  to  submit  them  to 
Raeburn,  he  knocked  at  the  great  painter's  door,  gave  a 
shilling  to  the  servant  to  allow  him  to  slip  into  the  studio, 
and  then,  boldly  presenting  himself  before  Raeburn, 
produced  his  miniatures,  and,  to  his  great  joy,  received 

182 


THE  END   OF  THE  STORY  183 

high  praise  for  them.  He  did  not,  however,  succeed  at 
first  in  his  profession,  and  when  he  went  back  to  Aberdeen 
his  principal  occupation  was  that  of  painting  scenery  for 
various  theatres.  His  elder  brother,  Archibald,  had,  prior 
to  this  time,  migrated  to  America,  and  was  successful 
there,  and  he  advised  Andrew  to  go  up  to  London  and 
study  at  the  Royal  Academy.  This  he  did  in  1801,  but, 
even  by  that  time,  he  had  been  so  industrious  that  he 
himself  tells  us,  he  had  painted  over  four  hundred  miniatures. 
When  he  came  to  London,  West  sat  to  him  for  his  portrait, 
and  many  of  the  other  miniature  painters  of  the  day  gave 
high  praise  to  his  productions. 

He  adopted  quite  an  unusual  method  of  working  in 
water-colour,  not  wholly  satisfactory  from  the  point  of 
view  of  the  present  day,  because  his  determination  was 
to  resemble  painting  in  oil,  and  his  technique  was  so 
puzzling  that  some  of  the  artists  to  whom  he  submitted 
it  were  by  no  means  sure  that  the  work  was  not  in  oil ; 
in  fact,  he  tells  us  that  Ozias  Humphry  took  out  a  strong 
glass  and  examined  the  miniatures,  feeling  quite  certain 
in  his  own  mind  that  they  were  not  executed  in  water- 
colour.  Robertson's  great  desire  was  to  produce  strong, 
full-coloured  portraits,  and  he  used  very  rich  and,  at 
times,  somewhat  hot  pigments.  His  miniatures  are 
frequently  not  oval,  but  rectangular,  and  he  seems  to 
have  preferred  this  shape  to  the  more  usual  one.  He 
was  successful  and  popular,  especially  as  he  had  struck 
out  a  new  line  in  his  portraits — something  that  people 
had  not  seen  before.  He  put  a  great  deal  of  himself  into 
his  miniatures — always  a  satisfactory  thing  for  an  artist  to 
do,  especially  in  view  of  the  identification  of  his  miniatures 
by  those  who  are  to  follow  him — and  Robertson's  miniatures 
can,  in  consequence,  be  readily  picked  out  by  reason  of 
their  strong  and  forcible  qualities,  and  the  unusual  power 
and  warmth  of  their  colouring.  He  was  an  interesting 
man,  ever  ready  to  help  his  brother  artists,  and  quite 


184  THE  MINIATURE  COLLECTOR 

early  in  his  life  he  attached  himself  to  the  Volunteer 
Movement  and  to  various  Musical  Societies. 

His  two  brothers,  who  also  painted  miniatures,  were 
Archibald  and  Alexander.  Archibald  is  said  to  have  been 
taught  miniature  painting  by  Charles  Sherriff,  and  he 
was  also  one  of  West's  pupils,  while  Alexander  studied  under 
Shelley.  Both  of  these  men  went  out  to  America  and 
there  settled  down  and  died. 

Robertson's  principal  pupil  was  Sir  William  Ross,  who 
is  generally  regarded  as  the  last  of  the  miniature  painters, 
as  he  lived  down  to  1860 — not  actually  so,  because 
there  were  others  who  outlived  him,  but  one  of  the  last 
who  attained  anything  like  popularity.  Some  of  the 
best  of  Ross's  work  is  to  be  seen  at  Windsor  Castle,  and 
several  of  his  finest  miniatures  were  in  the  possession  of 
the  Baroness  Burdett-Coutts.  It  was  in  his  time  that  the 
method  was  introduced,  by  which  a  shaving  of  ivory, 
taken  from  a  tusk,  was  slowly  pressed  by  hydraulic  pressure 
until  it  became  very  nearly  flat,  and  by  this  means  Ross 
and  Thorburn  and  Newton,  especially  the  two  former, 
were  enabled  to  have  very  large  pieces  of  ivory,  far  larger 
than  it  would  at  first  have  been  thought  possible  to  have 
obtained.  The  difficulty,  of  course,  with  regard  to  these 
pressed-out  pieces  of  ivory  is  that  the  material  is  apt  to 
make  endeavours  to  return  to  its  original  curve,  and  there 
is,  in  consequence,  grave  danger  of  these  large  pieces  of  ivory 
splitting  and  re-curving.  This  has  happened  to  almost 
all  Ross's  largest  miniatures  ;  almost  invariably  there  is 
a  split  in  the  thin  ivory,  and  sometimes,  unfortunately, 
several  of  them. 

His  work  was  extremely  minute — what  artists  call 
"  tight  " — and,  unfortunately,  the  style  of  costume  and 
of  coiffure  was  not  in  his  favour.  Fashion  was  not  kind 
to  people  in  the  Early  Victorian  days,  and,  moreover, 
the  desire  of  the  sitter,  especially  when  groups  were 
concerned,  was  in  favour  of  a  somewhat  stiff  formality. 


THE  END   OF  THE  STORY  185 

Ross  also  was  weak  in  his  treatment  of  atmosphere,  and  his 
productions  are  unsatisfactory  from  that  point  of  view. 
In  that  Thorburn  was  far  better,  but  he,  again,  was 
rather  inclined  to  produce  a  picture  rather  than  a  portrait, 
and  to  introduce  accessories  in  the  form  of  landscapes  in 
the  rear,  which  tended  to  detract  from  the  dignity  of  the 
portrait.  None  of  these  latter  men  were  helped  by  the 
costume  of  their  sitter.  Thorburn  broke  away  most  from 
convention,  determining  to  give  to  his  sitter  as  simple 
and  dignified,  almost  classical  a  style  of  costume,  as  the 
fashions  of  the  day  would  permit.  His  was  extremely 
fine  work,  very  highly  finished.  He  was  a  wonderful 
draughtsman.  He  also  was  a  Scotsman,  born  in  Dumfries, 
in  1818,  and  he  shared  with  Ross  the  popularity  of  the 
day.  He  was  not  content  with  the  curved  pieces  of  ivory, 
and  desired  even  larger  tablets  on  which  to  paint,  and, 
therefore,  many  of  his  miniatures  were  composed  of  two 
and  even  more  pieces  of  ivory,  skilfully  joined  one  to  the 
other.  In  this  way,  he  obtained  large  superficial  area, 
and  avoided  the  risk  attached  to  the  shavings  of  ivory 
pressed  flat,  which  were  so  popular  with  Ross.  Thorburn 
became  an  Associate  of  the  Royal  Academy,  and  exhibited, 
year  after  year,  from  1837  down  to  1884.  He  died  in  the 
following  year. 

Others  who  should  be  mentioned  were  Chalon,  the  Swiss, 
who  was  a  member  of  the  Society  of  Associated  Artists  in 
Water-colour,  and  who  exhibited  miniatures  in  1800  at  the 
Royal  Academy,  and  painted  a  considerable  number, 
which  were  very  popular  and  extremely  skilful  in  execution. 
There  should  have  been  a  large  collection  of  Chalon 's 
work,  the  property  of  the  nation,  but,  unfortunately, 
the  arrangements  that  he  proposed  to  make  for  bequeathing 
his  portraits  did  not  materialise,  and  when  he  died,  in 
1860,  his  works  were  scattered. 

Newton,  who  was  miniature  painter  to  William  IV. 
and  Queen  Adelaide,  and  who  became  Sir  William  Newton 


186  THE  MINIATURE  COLLECTOR 

in  1837,  and  died  in  1869,  was  another  favourite  miniature 
painter  of  the  day,  and  he  also  was  successful  in  joining 
together  a  number  of  pieces  of  ivory,  and  thus  producing 
a  large  tablet.  William  Dyce,  R.A.,  who  died  as  late  as 
1864,  executed  a  few  miniatures,  and  some  charming 
drawings  in  miniature  style. 

Holmes,  who  painted  Lord  Byron,  and  who  was  a  clever 
musician ;  Egley,  who  was  responsible  for  over  two 
hundred  miniatures,  most  of  which  were  exhibited  at  the 
Royal  Academy  ;  and  Severn,  who  is  best  known  for  his 
wonderful  miniature  of  Keats,  and  who  died  in  1821, 
are  others  who  deserve  mention ;  but  gradually,  the 
introduction  of  photography,  and  the  rapidity  with  which 
by  the  new  art  a  portrait  could  be  executed,  spoiled  the 
profession  of  the  miniature  painter,  and  for  some  time 
miniature  painting  practically  died  out,  the  artists  just 
named  having  been  the  latest  exponents  of  the  original 
art. 

In  later  years  there  has  been  a  revival,  but  modern 
miniatures  do  not  come  within  the  scope  of  this  book. 


CHAPTER  XVI 

THE   MINIATURE   PAINTERS   IN   ENAMEL 

IT  was  my  good  fortune,  some  years  ago,  to  see  the 
commencement  of  a  collection  of  miniatures,  and  I 
gathered  from  the  amateur,  who  was  entering  with 
some  enthusiasm  into  his  pursuit,  that  he  had  accepted  a 
strange  and  wholly  erroneous  idea  concerning  miniatures 
in  enamel.  It  is  possible  that  he  may  not  stand  alone  in 
the  opinion  he  had  of  these  interesting  portraits,  and  it  may 
be  well,  therefore,  to  state  wherein  he  was  in  error,  and  to 
give  an  explanation  of  the  circumstances  which  attend  the 
production  of  portraits  in  enamel.  He  had  an  impression 
that  they  were  more  or  less  mechanical  productions.  He 
did  not  range  them  as  low  as,  for  instance,  chromolitho- 
graphs or  three-colour  blocks,  but  in  some  mysterious  way 
he  had  acquired  the  idea  that  they  could  be  reproduced  in 
any  number,  that  they  were  not  worth  collecting,  because 
a  dozen  collectors  could  probably  have  exactly  the  same 
example,  and  that  they  did  not  represent  artistic  or  deter- 
minate effort  on  the  part  of  one  painter,  as  did  the  ordinary 
miniatures.  The  fact  that  they  were  executed  on  metal 
seemed  to  him,  in  his  ignorance,  to  imply  that  they  were 
mechanical  productions,  and  their  very  brilliance  of  colour 
had  led  him  to  think  that  they  were  quite  modern.  He  did 
not  in  the  least  grasp  the  fact  that  a  painted  enamel 
portrait  is  just  as  much  a  fine  piece  of  artistic  effort  as  is 
an  ordinary  miniature,  painted  on  ivory,  and  was  amazed 
to  understand  that  the  painter  in  enamel  needs  to  be,  if 

187 


i88  THE  MINIATURE  COLLECTOR 

possible,  the  more  dexterous  artist  of  the  two,  and  certainly 
the  more  courageous  :  dexterous,  because  the  colours  he 
uses  very  seldom  resemble  the  tints  that  will  hereafter  be 
produced  on  the  enamel,  and  courageous,  because  the  whole 
of  his  carefully  planned  and  beautifully  executed  work  may 
be  ruined  by  some  fault  either  in  the  colouring,  the  plate, 
or  the  furnace,  and  may  all  have  to  be  done  over  again. 
It  was  my  pleasant  task  to  explain  to  this  particular 
collector  how  the  miniature  painter  in  enamel  deals  with 
the  finely  powdered  colours  he  has  in  use,  and  using  them, 
paints  with  a  brush,  upon  the  surface  of  the  piece  of  metal, 
or  upon  some  prepared  enamel  surface,  the  portrait  he 
determines  to  produce,  and  how  careful  he  has  to  be  that 
the  colours  which,  upon  his  brush,  may  look  dull,  drab  or 
monotonous,  should  be  the  right  ones  which  in  the  finished, 
burned  enamel,  should  yield  the  blues,  reds  and  yellows 
which  he  intends.  I  then  had  to  explain  how  the  enamel 
was  carefully  deposited  in  the  kiln,  how  risky  was  the  firing, 
how  gradually  the  vitrification  of  the  different  colours  took 
place,  and  how  carefully  they  had  to  be  watched  in  the 
furnace,  and,  finally,  how  often,  by  some  accident,  a  master- 
piece, the  result  of  infinite  labour,  care  and  attention, 
might  be  transformed  into  an  apparently  worthless  pro- 
duction. He  was  glad  to  learn  that  enamelled  miniature 
portraits  were  just  as  interesting  to  a  collector  as  were 
paintings  upon  ivory,  card,  paper  or  chicken-skin.  More- 
over, he  learned  also  that  they  possessed  advantages  over 
the  ordinary  miniature.  They  could  be  hung  in  positions 
in  the  room  which  were  denied  to  the  ordinary  portrait. 
They  were  practically  unaffected  by  either  light  or  heat,  and 
therefore  could  be  exposed  to  the  full  sunlight,  and  the  case 
containing  them  needed  neither  blind  nor  shelter.  They 
could  even  be  washed,  and  cleansed  in  that  way  from  dust 
or  dirt,  and  provided  that  the  enamel  was  not  chipped, 
either  by  the  careless  use  of  a  tool  in  opening  the  frame,  or 
from  the  result  of  a  fall,  the  miniature  was  indestructible, 


THE  MINIATURE   PAINTERS   IN   ENAMEL    189 

and  permanent  in  every  way,  while  finally,  in  collecting 
miniatures  on  enamel,  he  would  not  find  such  a  strenuous 
opposition  on  the  part  of  other  collectors,  as  there  were 
many  persons  who  did  not  specially  care  for  enamel  por- 
traits, and  therefore  did  not  compete  in  their  purchase, 
and  at  no  time  had  they  ever  realised  the  high  and  some- 
what excessive  values  to  which  the  other  portraits  had 
approached. 

In  dealing  with  enamel  portraits,  we  have  to  start  at 
the  other  end  of  the  story,  because  the  art  was  not  an 
English  one  at  its  beginning,  and  its  greatest  proficients 
were  perhaps  the  two  or  three  men  who  were  responsible 
for  its  introduction  into  England.  It  was  probably  com- 
menced by  the  painters  in  Limoges,  who  produced  large 
portraits  in  bright  colour  on  white  enamel,  and  so  prepared 
the  way  for  the  art  to  develop,  in  the  seventeenth  century, 
into  that  of  producing  small  portable  portraits,  such  as 
we  are  more  generally  inclined  to  consider  as  miniatures. 
Taking,  no  doubt,  the  original  idea  from  the  enamellers 
at  Limoges,  it  was  developed  by  a  celebrated  goldsmith 
named  Jean  Toutin,  who  was  also  a  most  wonderful 
designer,  and  he,  with  the  help  of  his  own  son,  Henry,  and 
of  a  painter  who  at  first  worked  in  pastels,  named  Gribelin, 
was  the  first  whom  we  can  definitely  claim  as  a  painter 
of  small  portraits  in  enamel.  There  grew  up  around  him 
a  school  of  similar  painters,  who  worked  more  especially 
in  Blois,  and  in  Tours,  and  a  considerable  part  of  their 
labours  consisted  in  enamel  painting  on  the  exterior  cases 
of  the  elaborate  watches  of  the  period  of  Louis  XIII., 
which  were  decorated  with  allegorical  and  floral  designs  of 
extreme  beauty,  and,  in  some  instances,  with  portraits  of 
the  patrons  for  whom  these  very  costly  examples  of  horology 
were  prepared.  There  speedily,  however,  came  to  the 
front  a  Swiss,  named  Jean  Petitot,  who  was  born  in  Geneva 
in  1607,  and  was  apprenticed  in  early  days  to  a  jeweller, 
named  Bordier,  who  was  little  older  than  himself,  but  was 


igo  THE  MINIATURE  COLLECTOR 

so  clever  in  his  work  that  he  had  attained  a  considerable 
position  in  Geneva.  These  two  young  men,  Petitot  and 
Bordier,  worked  in  their  native  town  on  enamelling  gold- 
smiths' work,  mainly  with  regard  to  watchcases,  but,  not 
satisfied  with  their  progress,  they  determined  to  do  better. 
They  proceeded  to  enter  France,  and  for  a  while  worked 
with  Jean  Toutin,  learning  what  he  had  to  teach  them,  and 
in  their  turn  giving  him  information.  Then  they  crossed 
to  England,  provided  with  letters  of  introduction  to  the 
physician  to  the  King,  Turquet  de  Mayerne.  This  cele- 
brated man,  who  was  an  accomplished  chemist,  made  the 
two  artists  free  of  his  workshop,  placed  at  their  disposal 
various  discoveries  he  had  made,  and  assisted  them  in 
every  possible  way.  So  far  as  can  be  known,  their  first 
important  work  was  the  preparation  of  a  St.  George  for 
Charles  I.,  but  their  aim  was  to  produce  fine  portraits, 
and  this  they  were  speedily  successful  in  accomplishing. 
No  more  exquisite  portraits  have  ever  been  painted  in 
enamel  than  those  produced  by  Petitot  and  his  friend,  and 
later  on,  by  his  son.  Their  minuteness  of  execution  is 
amazing,  and  the  skill  with  which  the  vitrification  in  the 
kiln  was  arranged  to  take  place  is  such  as  has  never  been 
equalled.  Many  of  Petitot 's  best  portraits  do  not  exceed 
the  size  of  a  halfpenny,  some  are  far  smaller  even  than  that. 
Others,  quite  a  few,  are  very  large,  but,  in  almost  every 
case,  they  are  marked  by  rarely  beautiful  colouring,  by  an 
extreme  delicacy  of  technique,  and  by  an  extraordinary 
charm  which  distinguishes  them  from  all  other  work  of  the 
period.  The  largest  Petitot  probably  ever  prepared  is 
the  portrait  of  the  Countess  of  Southampton,  which  Walpole 
calls  "  the  most  capital  enamel  in  the  world."  It  is  now  at 
Chatsworth,  in  the  possession  of  the  Duke  of  Devonshire. 
It  is  a  copy  of  a  portrait  by  Vandyck,  and  bears  Petitot 's 
signature.  Another,  almost  as  large,  was  at  one  time  in 
the  possession  of  the  Crown,  and  is  now  one  of  the  chief 
ornaments  of  the  Pierpont  Morgan  collection.  It  is  a 


THE  MINIATURE  PAINTERS  IN  ENAMEL     191 

signed  portrait  of  the  Duchess  of  Richmond  and  Lennox, 
dated  1643.  Of  the  little  ones,  there  exist  a  very  large 
number,  and  they  embrace  portraits  of  Charles  I.  and  of 
his  Queen,  and  of  almost  all  the  persons  of  eminence  in  this 
country  who  were  connected  with  the  Court.  After  the 
execution  of  the  King,  Petitot  left  for  Paris.  His  friend 
Bordier,  however,  remained  in  London,  and  while  there 
Bordier  carried  out  certain  important  commissions  from 
Cromwell  and  his  followers,  including,  it  is  believed,  the 
portraits  of  Milton  and  Cromwell,  and  perhaps  the  famous 
Naseby  jewel  which  belongs  to  Lord  Hastings. 

When  in  Paris,  Petitot  entered  into  a  combination  with 
another  Bordier,  Jacques  by  name,  and  these  two  became 
the  most  eminent  painters  in  the  city,  were  given  apartments 
in  the  Louvre,  employed  by  Louis  XIV.,  and  painted  all 
the  most  eminent  personages  of  that  brilliant  Court.  The 
attachment  between  the  two  friends  lasted  for  thirty-five 
years,  and  was  only  put  an  end  to  by  the  death  of  Jacques 
Bordier.  There  were  many  unhappy  difficulties  concerning 
Petitot  towards  the  end  of  his  life.  He  was  resolute  in  his 
attachment  to  the  Reformed  faith,  and,  when  disaster 
overtook  the  Huguenots  of  France,  he  was  arrested  with  his 
niece,  and  eventually,  in  the  poorest  of  health  and  great 
despair,  placed  his  signature  to  an  act  of  abjuration,  and 
was  permitted  in  1687  to  leave  Paris,  and  again  to  reach 
Geneva.  Then  there  were  difficulties  with  regard  to  what 
the  Consistory  of  the  Reformed  Church  considered  as 
apostasy ;  but  the  pressure  of  circumstances  was  taken 
into  full  account,  Petitot  was  received  back  into  the 
Huguenot  communion,  and,  regaining  his  customary 
high  spirits,  set  to  work  at  his  old  profession,  acquitting 
himself  most  brilliantly.  He  received  various  commissions 
from  John  Sobieski,  King  of  Poland,  and  from  notable 
and  well-to-do  people  who  lived  near  to  Geneva.  His 
means  rapidly  increased,  and  he  was  full  of  energy  when, 
on  April  3rd,  1691,  in  the  act  of  painting  on  the 


192  THE  MINIATURE  COLLECTOR 


PLATE  XXIX. 
ENAMELS. 

1.  Le   Comte  de  Grignan    (1669-1714).      By  Jean  Louis   Petitot 

(1652-1730  ?). 

In  the  Collection  of  Mr.  J.  Pierpont  Morgan. 

2.  A  Royal  Prince,  name  unknown.     By  Jean  Louis  Petitot  (1652- 

1730  ?) 
In  the  Collection  of  Mr.  J.  Pierpont  Morgan. 

3.  Louis  XIV.     By  Jean  Petitot  (1607-1691). 

In  the  Collection  of  an  anonymous  collector. 

4.  Oliver    Cromwell,     contemporary    English    Miniature    Artist, 

unknown. 

5.  Queen  Victoria  (1819-1901).     By  Henry  Bone  the  younger. 

Nos.  4  and  5  are  in  the  Ashmolean  Museum,  Oxford. 

6.  Charles  II.     By  Prieur,  after  S.  Cooper.      Signed   and   dated 

1669. 

In  the  Collection  of  the  King  of  Denmark. 


PLATE   XXIX 


THE  MINIATURE   PAINTERS  IN  ENAMEL     193 

enamel  the  portrait  of  his  faithful  and  devoted  wife,  he 
was  seized  with  an  attack  of  paralysis,  and  passed  away 
during  the  succeeding  night.  He  was  succeeded  in  his 
profession  by  his  son,  who  was  almost  his  equal  in  skill,  and 
there  are  some  wonderful  works  by  the  younger  Petitot 
in  various  collections,  notably  in  those  of  the  Countess 
of  Dartrey  and  of  Earl  Beauchamp,  and  there  are  others 
in  the  Royal  Collection,  in  Paris,  in  various  Rothschild 
collections,  in  Berlin,  Vienna,  Dresden  and  Budapest. 
There  are  three  of  the  elder  Petitot 's  drawings  in  existence, 
all  of  which  are  in  the  Pierpont  Morgan  collection  ;  beyond 
these,  I  know  of  no  work  of  his,  save  the  enamels,  with  the 
exception  of  a  wonderful  MS.  journal  which  still  remains 
in  the  possession  of  the  Petitot  family,  and  which  has  in 
it  certain  drawings  made  by  the  artist  in  Indian  ink,  and 
two  delightful  portraits. 

Another  painter  in  enamel  who  must  be  mentioned  is 
Pierre  Prieur,  who  was  connected  by  family  with  Petitot, 
having  married  Marie,  the  elder  daughter  of  Petitot  the 
elder.  Prieur  was  in  England  in  1669,  painting  a  portrait  of 
Charles  II.,  and  another  of  Lady  Castlemaine.  Previous 
to  that  time,  he  appears  to  have  been  working  for  the  King 
of  Denmark,  and  in  the  following  year  we  hear  of  him  in 
Poland,  painting  a  portrait  of  the  King  of  that  country 
which  was  intended  as  a  present  for  the  Danish  monarch. 
In  1671,  Prieur  was  again  in  Denmark,  executing  some 
remarkable  commissions  for  portraits  of  the  elder  children 
of  Frederick  III.  Then  he  visited  Spain  and  journeyed 
to  Russia,  where  I  found  several  examples  of  his  work,  all 
dated  1676,  and  finally,  he  returned  to  Denmark,  and  there 
he  is  believed  to  have  died  in  1677.  His  work  in  England 
is  very  rare.  There  is  one  example  of  it  at  Windsor  Castle, 
and  there  were  two  in  a  private  collection,  but  one  of  them 
has  been  temporarily  lost  sight  of.  The  Morgan  collection 
contains  two  fine  examples.  Prieur's  work  is  particularly 
brilliant,  and  he  had  the  secret  of  a  remarkable  blue,  which 


194  THE  MINIATURE   COLLECTOR 

is  a  feature  of  his  portraits,  and  does  not  seem  to  have  been 
known  to  the  other  painters  in  enamel  of  the  day. 

The  younger  Petitot  was  said  to  have  studied  for  a  while 
under  Samuel  Cooper,  but  there  is  no  evidence  for  this 
statement,  and  his  miniatures  do  not  give  me  the  impression 
that  would  lead  to  its  acceptance.  It  is  declared  in  a  work 
dealing  with  enamel  of  that  particular  period,  that  some- 
times these  portraits,  exquisitely  painted  upon  a  background 
of  rough  white  enamel,  laid  upon  the  tiny  morsel  of  gold 
or  silver  plate,  had  to  be  fused  seven  or  eight  times,  on 
every  occasion  with  the  grave  risk  of  complete  failure. 
The  marvel  of  their  beauty  is  therefore  increased,  and  their 
value  in  the  eye  of  an  understanding  collector  cannot 
but  be  greatly  enhanced. 

There  were  many  more  enamellers  in  France,  following 
these  especial  few,  and  such  names  as  Cheron,  Arlaud, 
Masse,  Aubert,  Liotard,  Rouquet  and  others,  are  well 
known. 

In  England,  the  art  commences  about  the  time  of  Queen 
Anne,  and  its  first  important  exponents  were  both  foreign- 
ers, Boit  and  Zincke,  Boit  having  been  a  Swede,  born  in 
Stockholm  in  1663,  and  Zincke,  his  pupil,  a  native  of 
Dresden,  some  twenty-one  years  younger,  who  came  to 
England  in  1706.  Boit  was  a  man  of  an  adventurous 
character,  but  procrastinating  to  the  last  degree.  He 
aimed  at  producing  an  enamel  which  would  measure  24 
inches  by  18,  and  represent  Queen  Anne  surrounded 
by  her  Court.  It  was  intended  to  commemorate  the 
victories  of  the  Duke  of  Marlborough  ;  the  design  for 
it  was  prepared,  Boit  had  a  considerable  advance  from 
the  Crown,  and  erected  a  special  furnace,  with  adjacent 
workshops.  His  principal  difficulty  was  in  obtaining  a 
preparatory  ground  of  white  enamel  suitable  for  his  purpose, 
and  this  he  never  seems  to  have  succeeded  in  doing.  He 
did,  however,  commence  to  paint  the  enamel,  and  pro- 
duced a  considerable  part  of  it,  but  Queen  Anne's  husband, 


THE  MINIATURE  PAINTERS  IN  ENAMEL    195 

who  was  probably  responsible  for  the  idea,  died,  Prince 
Eugene,  whose  portrait  was  to  come  into  the  enamel, 
refused  to  sit,  and  other  troubles  ensued.  Then  Queen 
Anne  died,  Boit  got  into  difficulties,  and  left  England  for 
France,  where  he  passed  the  remaining  years  of  his  life, 
and  carried  out  some  interesting  and  important  portraits. 

Zincke,  who  was  his  pupil,  was  responsible  for  a  very 
large  number  of  small  paintings  in  enamel.  He  was  cer- 
tainly the  first  worker  in  England  to  produce  fine  portraits 
in  this  fascinating  manner.  His  peculiar  blue,  and  an 
almost  equally  striking  pink,  are  characteristic  of  his  work, 
and  enable  one  to  identify  it  almost  in  a  moment.  He 
must  have  been  a  prolific  worker,  as  there  are  examples 
of  his  productions  in  almost  every  notable  collection. 
Walpole  tells  us  that  he  increased  his  prices  over  and  over 
again,  but  everybody  desired  to  sit  to  Zincke,  and  it  was  of 
very  little  use  increasing  his  fees,  because  he  appears  to 
have  had  just  as  much  work  as  ever.1  One  of  his  pupils 
was  a  man  named  Prewitt,  who  executed  some  excellent 
portraits,  and  was,  if  anything,  a  better  draughtsman  than 
his  master,  and  possessed  of  a  somewhat  less  ostentatious 
scheme  of  colouring. 

Two  other  foreign  painters  who  worked  in  England  were 
J.  H.  Hurter  and  his  younger  brother,  J.  F.  C.  Hurter. 
Both  these  men  were  constantly  employed  by  the  then  Earl 
of  Dartrey,  and  in  the  possession  of  the  present  Countess  of 
Dartrey  there  are  more  examples  of  their  work  than  are 
to  be  found  in  any  other  portrait  collection.  The  younger 
Hurter  left  England  for  Russia  in  1785,  and  is  said  to  have 
died  in  that  country. 

The  first  miniature  painter  who  exhibited  at  the  Royal 

1  The  Will  of  Sir  John  Bosworth,  of  Epsom,  Co.  Surrey,  dated 
22  February,  1752,  proved  12  August,  1752,  by  his  sons,  the  Rer. 
John  Bosworth  and  Samuel  Bosworth,  mentions  a  bequest  to  the 
testator's  son  John  of  the  snuff-box  with  his  mother's  picture 
enamelled  by  Zincke  set  in  the  lid. 


196  THE  MINIATURE  COLLECTOR 

Academy  was  Gervase  Spencer,  who  is  stated  to  have  been 
originally  a  valet,  or  footman,  but  whose  skill  in  portrait 
painting  attracted  the  attention  of  his  master,  who  gave 
him  the  necessary  education,  and  he  speedily  became  an 
exhibitor  at  the  newly  founded  Academy,  and  a  very 
popular  worker,  both  in  enamel  and  as  an  ordinary  minia- 
ture painter.  The  duller  shades  of  green  particularly 
appealed  to  Spencer,  and  his  colouring  is  always  of  a  quiet 
and  refined  type.  His  portraits  are  usually  signed  by  tiny 
square  initials.  He  died  in  1763. 

One  of  his  successors  was  Henry  Spicer,  a  Norfolk  man, 
who  carried  on  the  work  of  the  enameller  down  to  the  time 
of  his  death  in  1804.  He  was  a  painter  in  enamel  to  the 
Prince  of  Wales,  was  a  resident  in  Dublin  for  some  few 
years,  and  a  successful  and  remarkable  miniature  painter. 
He  does  not  appear  to  have  produced  many  portraits. 
He  is  said  to  have  been  very  slow  in  his  accomplishment. 
As  a  rule,  his  miniatures  are  signed  on  the  back,  and  in 
this  branch  of  miniature  collecting  the  collector  has  one 
special  advantage  in  the  fact  that,  as  a  rule,  an  enamel 
painter  gave  his  signature,  and  also  frequently  the  date 
and  his  own  address,  burnt  in  in  black  on  the  bluish  green 
back  of  the  portrait.  It  is  not  difficult,  therefore,  as  a 
rule,  to  identify  a  portrait  in  enamel. 

Others  who  should  be  mentioned  are  Samuel  Cotes ; 
Jeremiah  Meyer,  who  was  another  of  Zincke's  pupils,  and 
enameller  to  George  III.,  who  produced  excellent  work  of 
a  very  fine  character ;  Nathaniel  Hone,  and  his  nephew, 
Horace  Hone,  who  died  in  1825 ;  Michael  Moser,  who  was  a 
jeweller  and  medallist,  and  responsible  for  one  of  the  great 
seals  of  England,  and  Samuel  Finney,  who  in  1765  was 
appointed  enamel  painter  to  Queen  Charlotte,  and  who 
was  an  exceedingly  successful  man,  acquiring  a  consider- 
able fortune,  and  eventually  able  to  redeem  some  family 
estates  in  Cheshire,  where  he  settled  down  to  the  quiet 
life  of  a  country  magistrate.  Others  were  John  Howes, 


THE  MINIATURE   PAINTERS  IN   ENAMEL     197 

W.  Bate,  Birch,  who  produced  a  fine  portrait  dated  1793 
Hatfield,  one  of  whose  best  works  is  dated  1780,  and  Thomas' 
and  William  Craft,  who  worked  on  rather  a  larger  scale 
than  other  painters  of  the  day,  and  some  of  whose  portraits 
measure  as  much  as  seven  inches  by  five. 

We  then  come  to  one  of  the  latest,  and  in  some  respects 
one  of  the  greatest  enamel  painters  in  England,  Henry 
Bone,  a  Cornishman,  born  at  Truro  in  1755,  and  who  was 
for  a  while  a  decorator  of  fine  china,  working  at  Plymouth, 
and  eventually  in  Bristol,  painting  landscapes  and  flowers 
on  porcelain.  In  1780,  he  came  up  to  London,  and  there 
decorated  watch  cases,  buttons  and  brooches,  but  speedily 
found  that  his  metier  was  with  regard  to  portraits,  and  he 
gathered  about  him  an  important  clientele,  and  was  for  a 
long  time  the  most  popular  enamel  painter  of  the  day. 
George  III.  made  him  his  enamel  painter,  and  he  then  set 
himself,  not  only  to  produce  portraits,  but  to  copy  the 
works  of  the  older  masters  in  enamel,  and  was  extra- 
ordinarily successful.  He  was  gifted  with  a  magnificent 
sense  of  colour,  and  he  painted  a  long  series  of  reproductions 
of  other  works,  many  of  which  can  be  still  seen  at  Kingston 
Lacy  near  Wimborne,  and  at  Woburn  Abbey,  Windsor 
Castle  and  in  the  Oxford  University  Galleries.  His  paint- 
ings are  exceedingly  brilliant,  and  the  great  series  of  some 
eighty-five  portraits,  copies  of  the  famous  people  at  the 
Court  of  Elizabeth,  had  never  been  equalled,  and  can 
surely  never  be  surpassed.  The  greater  part  of  the  collec- 
tion at  Kingston  Lacy  consists  of  this  series,  which  was 
purchased  in  1856,  long  after  the  death  of  Bone.  Henry 
Bone  was  an  Associate  of  the  Academy  in  1801,  a  Royal 
Academician  in  1811,  and  painter  in  enamel  to  George  III., 
George  IV.  and  William  IV.  He  was  succeeded  by  his  two 
sons,  H.  P.  Bone  and  R.  T.  Bone,  who  continued  in  their 
father's  profession,  bringing  the  art  of  the  enamel  painter 
almost  down  to  modern  times.  Two  other  enamel  painters 
who  should  have  been  mentioned  were  Richard  Collins , 


THE  MINIATURE  COLLECTOR 


who  was  a  pupil  of  Jeremiah  Meyer,  and  John  Plott,  who 
was  a  pupil  of  Nathaniel  Hone.  These  lived  well  into  the 
nineteenth  century,  Plott  dying  in  the  early  part  of  it,  and 
Collins  surviving  to  1831. 

The  last  important  Englishman  to  work  in  enamel  was 
William  Essex,  who  first  exhibited  at  the  Royal  Academy 
in  1818,  and  was  appointed  miniature  painter  and  enamel 
painter  both  to  Queen  Victoria  and  the  Prince  Consort, 
and  who  exhibited  steadily  at  the  Academy  away  down  to 
1862.  He  was  an  expert  enameller,  an  accomplished 
chemist,  and  a  very  clever  artist.  His  pictures  were  not 
merely  portraits  of  the  notable  people  of  the  day,  but  they 
also  included  landscapes  and  classical  subjects.  The  last 
few  years  of  his  life  were  passed  at  Brighton,  where  he  died 
in  1869,  at  the  age  of  eighty-five,  leaving  behind  him  a 
notable  treatise  on  enamel  painting,  which  is  of  considerable 
importance  and  is  frequently  used  at  the  present  day. 

The  student  of  portraits  in  enamel  will  do  well  to  give 
particular  attention  to  the  collection  at  the  Ashmolean 
Museum,  Oxford,  the  main  portion  of  which  came  by 
bequest  to  the  Gallery  in  1897  from  the  Rev.  W.  Bentinck  L. 
Hawkins ;  it  has  been  skilfully  arranged  and  ably  catalogued, 
and,  as  it  includes  examples  of  all  the  notable  English 
enamels  from  the  time  of  Oliver  Cromwell  down  to  those 
of  H.  P.  Bone  and  Essex,  it  is  worthy  of  the  closest  atten- 
tion. It  embraces  examples  of  several  important  foreign 
painters  in  enamel,  notably  of  a  Milanese  artist,  who  lived 
and  worked  in  London  in  the  latter  part  of  the  eighteenth 
century,  one  Gaetano  Manini;  andperhapsZincke's  finest 
work  finds  a  place  in  its  cases,  a  portrait  of  Catherine 
Shorter,  the  first  wife  of  Sir  Robert  Walpole,  Earl  of 
Orford,  and  mother  of  Horace  Walpole,  from  whose  collec- 
tion at  Strawberry  Hill  the  portrait  came.  It  is  set  in  a 
wonderful  gold  frame^  with  enamelled  flowers,  and  the 
companion  portrait,  which  represents  Sir  Robert  Walpole, 
is  in  the  collection  at  Knowsley,  belonging  to  Lord  Derby. 


THE  MINIATURE   PAINTERS   IN   ENAMEL     199 

Several  of  the  portraits  represent  important  historic  per- 
sonages, such  as  the  Earl  of  Mansfield,  Dr.  Johnson,  Inigo 
Jones,  Alexander  Pope,  Sir  William  Hamilton,  Sir  Joshua 
Reynolds,  and  the  Duke  of  Wellington,  and  the  collection  is 
brought  down  to  the  most  recent  period  by  important 
examples  representing  the  Prince  Consort  and  Queen 
Victoria,  the  latter  being  a  notable  picture  by  Essex. 


CHAPTER  XVII 

SOME   FOREIGN   MINIATURE   PAINTERS 


IT  is  probable  that  the  collector  for  whom  this  book  is 
intended  will  devote  his  chief  attention  to  the  works 
of  English  artists,  and  will  not  be  specially  interested 
in  those  who  were  not  connected  with  this  country,  but  as 
his  collection  increases,  he  will  be  sure  to  endeavour  to 
purchase  some  of  the  best  French  miniatures,  and  there  are 
opportunities  occasionally  for  acquiring  good  examples  of 
foreign  art,  at  comparatively  small  prices,  well  worthy  of 
being  added  to  a  carefully  selected  collection. 

The  finest  French  miniatures  are  eagerly  desired  by  the 
chief  collectors  in  Paris,  and  therefore,  as  a  rule,  fetch 
high  prices.  Of  some  artists,  it  may  be  said  that  hardly 
any  of  their  best  portraits  exist  outside  a  particular  region 
with  which  they  were  connected ;  for  example,  of  the  work 
of  Sergent  I  only  know  of  one  miniature  which  is  not  in 
France,  and  that  is  a  well-known  portrait  of  Marie  Antoin- 
ette, which  adorns  the  Pierpont  Morgan  collection.  Of  the 
work  of  Fiiger,  the  great  Viennese  painter,  all  the  best 
examples  are  still  to  be  found  in  Vienna,  either  in  the 
Academy,  or  in  the  great  collection  which  Dr.  Figdor  was 
able  to  bring  together. 

Of  the  Swedish  painter  Hall,  his  very  best  works  are  still 
in  Sweden,  although  as  he  settled  in  France  in  1766,  and 
spent  many  years  there,  there  are  many  of  his  notable 
works  in  Paris.  One  beautiful  example  can  be  seen  in  the 
Wallace  Gallery.  There  are  several  in  the  Pierpont 
Morgan  collection,  and  a  few  in  other  collections  in  England. 

200 


SOME  FOREIGN   MINIATURE   PAINTERS       201 

Other  Swedish  artists,  such  as  Sparrgren  and  Gillberg,  are 
known  almost  exclusively  in  Sweden.  It  is  the  rarest 
possible  thing  to  see  anything  by  them,  or  by  Brenner  or 
Signac,  outside  Sweden.  The  best  work  of  Guerin,  Fra- 
gonard,  Drouet,  Dumont  and  Augustin,  still  remains  in 
France,  and  is  in  the  highest  possible  repute  in  that  country. 

Isabey's  work  has  always  been  popular  in  England,  and 
there  are  some  good  examples  of  his  miniatures  to  be  found 
here.  He  was  a  particularly  interesting  portrait  painter 
because,  attached  for  some  time  to  the  Court  of  Marie 
Antoinette,  he  yet  lived  long  enough  to  paint  portraits  of 
Napoleon  L,  to  have  the  Empress  Josephine  and  the 
Empress  Marie  Louise  both  to  sit  to  him,  to  see  Louis 
Philippe,  and  to  paint  portraits  of  Louis  XVIII.  and  Charles 
X.,  so  that  his  experience  ranges  over  a  long  and  eventful 
period  of  French  history.  His  miniatures  are  very  easy 
to  recognise,  because  the  soft  gauzy  white  drapery  that 
veils  so  many  of  his  portraits  is  very  characteristic. 
Moreover,  he  was  partial  to  a  peculiar  shape,  using  very 
long  ovals  of  ivory,  practically  elliptic,  and  measuring 
about  5  in.  by  3|  as  a  rule.  He  also  produced  some 
exceedingly  clever  sketches  for  portraits,  on  pieces  of 
paper  of  similar  shape,  and  even  on  ivory.  His  signature 
is  constantly  forged ;  some  of  his  work  is  not  difficult  to 
copy,  although  hardly  anyone  but  himself  could  produce 
the  exquisite  film-like  quality  of  his  draperies.  The 
miniatures  that  are  signed  "  Isabey  "  alone,  without  the 
initial,  and  where  the  lines  have  the  same  thickness  all 
along,  and  the  thicker  or  thinner  up  and  down  strokes 
are  not  clearly  visible,  may  be  viewed  with  some  suspicion, 
because  Isabey's  own  actual  signature,  although  he  adopted 
three  methods  of  signing  it ;  has  distinct  up  and  down 
strokes  in  the  writing,  a  very  easy  flow  to  the  tail  of  the 
"  y,"  small  square-headed  capitals,  and  a  certain  freedom 
which  is  wholly  different  from  the  forged  signatures. 

The  miniatures  of  Fragonard  are  very  interesting,  and 


202  THE  MINIATURE  COLLECTOR 


PLATE  XXX. 
FOREIGN   ARTISTS. 

1.  The   Countess  Sophie   Poto?ki    (1765-1822).     By   P.    A.    Hall 

(1736-1793)- 

In  the  Collection  of  Mr.  J.  Pierpont  Morgan. 

2.  A  Boy,  name  unknown.     By  Dumont  (1751-1831). 

In  the  Wallace  Collection. 


PLATE   XXX 


SOME  FOREIGN  MINIATURE  PAINTERS      203 

differ  entirely  from  those  of  any  other  artist  of  the  day. 
They  are  painted  with  a  very  full  brush  in  bold,  light, 
sketchy  manner,  the  tints  so  daintily  placed  upon  the 
ivory  as  to  give  the  effect  of  having  been  blown  upon  the 
material,  and  resting  there  with  a  featherlike  lightness. 
He  used  a  great  deal  of  yellow  in  many  of  his  miniatures. 
It  is  fine,  sketchy  work,  and  of  great  beauty.  Some  of  his 
portraits  are  said  to  have  been  the  work  of  his  wife,  Marie 
Anne  Gerard,  who  was  also  a  professional  miniaturist. 
Sometimes  it  is  not  easy  to  determine  whether  husband  or 
wife  was  responsible  for  the  portrait  in  question,  but  there 
was  an  exhibition  of  his  works  in  1907  in  which  some  of 
Madame  Fragonard's  miniatures  were  exhibited  in  the  same 
room,  and  a  certain  consensus  of  opinion  was  obtained,  by 
which  the  two  groups  were  differentiated  the  one  from  the 
other. 

There  is  a  well-known  portrait  by  Fragonard  in  the 
Wallace  Gallery  called  "The  Child  with  the  Fair  Hair." 
The  original  sketch  for  that  forms  a  large  miniature  in  the 
Pierpont  Morgan  collection,  and,  in  that  miniature,  Fra- 
gonard shows  another  curious  characteristic.  He  had  a 
habit  of  sketching  out  the  portrait,  and  then  finding  that 
the  piece  of  ivory  did  not  allow  sufficient  space  for  a 
suitable  background  ;  in  this  particular  case,  and  in  others, 
he  pieced  on  similar  pieces  of  ivory,  so  as  to  enlarge  the 
space  behind  the  head  of  the  sitter.  This  characteristic  is 
a  notable  one,  and  has  sometimes  been  the  means  of 
identifying  his  portraits. 

Hall,  the  Swede,  who  did  his  best  work  in  Paris,  painted 
in  a  rich,  loose  fashion,  and  was  fond  of  landscape  back- 
grounds, or  the  representation  of  a  garden  and  some  trees. 
His  colour  scheme  was  extraordinarily  fine,  and  hardly  any 
miniatures  painted  in  France  are  of  greater  artistic  merit 
than  those  for  which  he  was  responsible. 

Augustin,  who  was  born  in  1759,  was  one  of  the  greatest 
of  the  French  miniature  painters.  He  began  producing 


204  THE  MINIATURE  COLLECTOR 

miniatures  when  quite  a  boy,  and  was  in  steady  practice 
down  to  the  time  of  his  death  in  1832.  The  greatest 
collection  of  his  miniatures  in  existence  is  that  which  Mr. 
Pierpont  Morgan  acquired  from  his  heirs  and  it  includes  a 
wonderful  series  of  sketches  and  unfinished  miniatures, 
as  well  as  many  portraits  of  himself  and  completed  minia- 
tures of  persons  of  high  importance  at  that  time  in  Paris. 
A  full  account  of  this  artist,  with  illustrations  of  his  work 
and  details  concerning  his  career,  can  be  found  in  the 
fourth  volume  of  the  Pierpont  Morgan  Catalogue. 

Two  of  his  pupils  were  Laurent  and  Pinchon,  both 
notable  men. 

Another  great  French  miniature  painter  was  Dumont,  or 
rather  one  ought  to  say  that  there  were  two  Dumonts, 
Frangois  and  Tony,  both  clever  painters,  and  it  is  not  easy 
to  distinguish  between  the  works  of  the  two.  Yet  another 
was  Vestier,  whose  daughter  Francois  Dumont  married, 
and  who  was  responsible  for  some  extremely  fine  minia- 
tures. 

Pierre  Prud'hon  (1758-1823)  and  his  great  friend  Con- 
stance Meyer,  were  also  responsible  for  some  notable 
miniatures,  and  other  French  artists  who  ought  to  be 
named  were  Rouvier,  Villiers,  Hoin,  Perrin  and  Jacques, 
but  about  all  these  portrait  painters  it  is  well  to  refer  the 
collector  to  the  works  mentioned  in  the  bibliography, 
especially  to  the  important  book  on  French  miniature 
painters  by  Henri  Bouchot,  which  can  be  obtained  in  two 
editions,  either  with  or  without  illustrations. 

The  chief  Spanish  painter  to  be  mentioned  is  Ferdinand 
Quaglia,  who  was  the  Empress  Josephine's  favourite 
miniature  painter,  and  was  especially  successful  in  painting 
velvet  and  fur  ;  while,  among  German  artists,  Chodowiecki 
must  not  be  forgotten  (1726-1801)  and,  in  enamels,  Ding- 
linger  and  Thienpondt.  Amongst  native  Dutch  miniature 
painters  the  chief,  perhaps,  is  the  seventeenth -century 
artist  named  Lundens. 


CHAPTER  XVIII 

PLUMBAGO   DRAWINGS 


A  MINIATURE  need  not,  necessarily,  have  colour. 
There  is  one  group  of  miniatures,  to  be  considered 
in  this  chapter,  which  are  entirely  lacking  in 
colour,  and  are  monotone  in  hue,  either  the  delicate  black 
of  graphite  or  pencil,  the  brownish  tint  of  Indian  ink  or 
sepia,  or  the  gleaming  grey  tone  of  silver  point. 

To  these  might  be  added  certain  others  drawn  in  pencil 
and  crayon,  in  which  perchance  two,  or  three  at  the  most, 
faint  colours  are  introduced  either  by  crayon  or  wash. 

It  was  at  one  time  suggested  that  the  drawings  included 
in  this  group  were  not  portrait  miniatures  strictly  speaking, 
but  were  prepared  either  as  studies  for  miniatures  in 
colour  or  larger  portraits,  or  else  as  the  preparatory  studies 
for  the  use  of  engravers,  but  these  theories  have  been 
generally  laid  aside. 

It  may,  moreover,  be  assumed  that  many  of  the  pencil 
portraits  usually  termed  Plumbago  Drawings,  carried  out 
on  paper  or  vellum  and  drawn  with  a  finely  pointed  piece 
of  graphite,  by  such  artists  as  Loggan,  White,  and  Forster, 
were  actual  ad  vivum  portrait  miniatures  complete  in 
themselves,  not  studies  for  any  other  works,  and  as  truly 
deserving  of  consideration  in  a  book  on  miniatures  as  are 
the  portraits  in  water-colour  more  usually  accepted  under 
that  name. 

It  is,  of  course,  difficult  to  know  where  to  draw  a  line 
for  the  collector,  and  impossible  to  determine  amongst 

205 


206  THE  MINIATURE  COLLECTOR 

these  drawings  which  should  be  considered  as  a  miniature 
and  which  should  be  discarded. 

Each  collector  must  please  himself.  One  may  include 
all  portraits  drawn  in  pencil,  crayon,  Indian  ink,  silver 
print  or  wash,  provided  they  are  small,  and  of  handy 
proportions.  Another  may  confine  his  attention  to  the 
drawings  made  in  graphite,  and  reject  the  rest.  The  latter 
may  perhaps  be  technically  the  more  correct,  but  the 
former  will  possess  the  more  interesting  and  instructive 
collection. 

In  England  there  has  been  a  regular  school  of  artists 
who  worked  in  plumbago  ;  Loggan,  Forster  and  White 
being  perhaps  the  most  notable  amongst  them.  In  other 
countries,  notably  in  Holland,  there  have  been  many 
artists  proficient  in  this  art ;  but  the  difference  is,  that  while 
we  know  of  no  miniatures  in  colour  by  the  three  men  just 
named  we  find  that  most  of  the  Dutch  and  French  plumba- 
goists  worked  also  in  colour,  only  occasionally  confining 
their  attention  to  the  production  of  pencil  or  plumbago 
portraits.  I  must  not  imply  in  this  statement,  however, 
that  the  artists  just  named  who  worked — so  far  as  we  know 
— exclusively  in  plumbago  were  the  only  English  artists 
who  adopted  this  form  of  drawing.  Such  was  not  the  case. 
Those  who  painted  in  colour  also  executed  at  times,  fine 
pencil  portrait  drawings  which  may  well  be  termed  minia- 
tures. We  know,  for  example,  of  one  fine  pencil  drawing 
by  Samuel  Cooper,  and  there  are  several  in  existence  by  Fai- 
thorne,  by  Richardson,  by  Lely,  and  by  George  Vertue, 
all  of  whom  are  known  to  draw  in  colour,  while  amongst 
engravers  who  executed  such  portraits  we  may  mention 
Abraham  Blootelling,  George  White,  Greenhill  and  others. 

Let  me  now  treat  in  some  detail  of  those  artists  who  may 
be  claimed  with  some  definite  assurance  as  miniaturists  in 
plumbago. 

Of  these  probably  David  Loggan  is  the  chief.  He  was  a 
native  of  Danzig,  born  in  1635,  and  he  came  to  England 


PLUMBAGO  DRAWINGS  207 

some  time  before  1653  and  was  naturalised  in  this  country. 
His  chief  talent  lay  in  engraving,  and  he  was  appointed 
Engraver  to  the  University  of  Oxford  in  1669  and  to  that 
of  Cambridge  in  1690.  His  fame  rests  upon  his  two 
splendid  series  of  engraved  views  of  the  Colleges  known  as 
Oxonia  Illustrata,  1675,  and  Cambrigia  Illustrata,  1676- 
1690.  He  was,  however,  a  very  skilful  artist  in  preparing 
ad  vivum  portraits,  which  he  executed  as  a  rule  on  vellum 
and  generally  signed  and  dated.  They  are  delicate,  dainty 
works,  exquisite  in  detail  and  remarkable,  amongst  other 
qualities,  for  the  manner  in  which  the  lace  on  the  cravats 
is  delineated.  So  perfectly  is  this  rendered  that  a  skilful 
lace  worker  could  work  on  a  pillow  from  it  and  produce  a 
fabric  exactly  resembling  that  represented  in  the  portrait. 

It  is  clear  that  some  at  least  of  Loggan's  portraits  were 
carried  out  with  a  view  to  engraving,  one  of  the  four 
belonging  to  the  University  of  Oxford  "  being  apparently 
the  original  of  an  engraving  of  great  iconographical  inter- 
est." Another  in  my  own  collection,  which  was  as  recently 
as  1848  in  the  collection  at  Windsor  Castle,  is  clearly  the 
original  for  the  portrait  of  Charles  II.  which  was  engraved 
for  the  patents  and  charters  of  the  day,  but,  on  the  other 
hand,  many  of  Loggan's  fine  drawings  were  not  so  intended, 
and  were  just  fine  portrait  miniatures,  executed  in  plum- 
bago. In  the  Wellesley  collection  there  were  portraits  of 
Cardinal  Mazarin  (signed  and  dated  1659),  Mrs.  Perwick 
(signed  and  dated  1655),  Ralph  Bathurst  (signed  and  dated 
1681),  and  a  portrait  of  Charles  II.,  while  in  my  own  collec- 
tion, besides  the  portrait  of  Charles  II.  already  mentioned, 
and  another  of  the  same  monarch  sketchily  drawn, 
there  are  similar  ones  of  Sir  Bibye  Lake  (signed  and  dated 
1678),  Charles,  sixth  Duke  of  Somerset  (signed  and  dated 
1682),  Henry,  Lord  Grey  de  Ruthyn  (signed  and  dated 
1683)  and  James,  Marquis  of  Douglas. 

The  drawing  of  Cardinal  Mazarin  was  discovered  in  an 
old  house  at  Chelsea  close  to  where  the  Duchesse  de  Mazarin 


208  THE   MINIATURE  COLLECTOR 


PLATE  XXXI. 
PLUMBAGO    DRAWINGS. 

1.  Plumbago  Drawing  of  Charles,  Sixth  Duke  of  Somerset  (1662- 

1748),  commonly  called  the  proud  Duke.  By  David  Loggan 
(1635-1700?).  Signed  and  dated  1682. 

2.  Plumbago  Drawing  of  "  Elizabeth  Keyt,   ist  wife  of  Thomas 

Charles,  5th  Viscount  Tracy,  and  Mother  of  the  Honble.  Jane, 
wife  of  Cecil  Hanbury,  Esq."  By  Thomas  Forster  (Fl.  1695- 
1712).  Signed  and  dated  1703.  "  Framed  by  Orme,  Feb. 
7th,  1704." 

Both  in  the  Collection  of  Dr.  G.  C.  Williamson. 


PLATE   XXXI 


\ 


PLUMBAGO  DRAWINGS  209 

lived.  The  one  of  Mrs.  Perwick  contained  some  of  Loggan's 
most  marvellous  drawing  of  lace  ;  the  bodice  in  the  portrait 
is  exquisite  in  its  delicacy  and  charm. 

Robert  White  was  Loggan's  pupil  and  adopted  his 
master's  manner  of  drawing,  excelling  him  perhaps  in  the 
delineation  of  hair.  His  portraits  are  stronger  and  more 
forcible  than  those  of  Loggan,  not  so  dainty  nor  so  refined, 
but  magnificent  in  their  virility. 

There  are  twelve  of  his  works  in  the  Print  Room  at  the 
British  Museum,  the  most  notable  being  the  well-known 
portrait  of  John  Bunyan.  In  the  Duke  of  Portland's 
collection  there  are  three  signed  portraits,  Charles  II. 
(1684),  the  Duke  of  Monmouth,  and  Robert  White  himself 
(1679).  Mr.  Wellesley  also  had  a  superb  Charles  II.  (1702), 
and  portraits  of  James  II.,  William  Dobson  the  painter, 
and  of  a  Judge  and  a  Bishop,  as  well  as  two  other 
signed  portraits  of  men  whose  names  are  unknown. 
The  examples  of  White's  work  in  my  own  collection  are 
a  portrait  of  Joseph  Addison  (1672-1719)  the  original 
from  which  the  well-known  engraving  was  made,  and 
portraits  of  Queen  Catherine  of  Braganza,  Henrietta 
Anne,  daughter  of  Charles  I.,  and  Thomas  Thynne. 

Of  the  third  great  draughtsman  in  plumbago,  Thomas 
Forster,  we  know  very  little  indeed.  He  was  rather  later 
in  date  than  the  other  two,  and  appears  to  have  flourished 
between  1695  and  1712,  but  who  he  was  and  what  was  his 
history  and  who  were  his  masters,  we  do  not  know.  His 
work  is  amazing  and  wonderful.  He  used  very  hard 
graphite,  pointed  to  an  almost  microscopic  sharp- 
ness, and,  working  as  he  did  mainly  on  vellum,  it 
must  have  been  almost  impossible  to  erase  a  mark  or  a 
line.  Occasionally  his  portraits  are  touched  with  a  little 
grey  wash,  especially  about  the  draperies,  but  all  the 
rest  is  in  fine  and  exquisite  line.  I  believe  that  my 
own  portrait  of  Viscountess  Tracy  (signed  and  dated 
1703)  is  as  fine  an  example  of  his  work  as  any 


210  THE  MINIATURE  COLLECTOR 

known,  and  besides  that  I  have  three  other  works  ; 
but  Mr.  Wellesley  possessed  a  wonderful  series  of  his 
portraits  representing  members  of  the  Bulteel  family,  and, 
in  addition  to  these,  he  had  ten  others,  including  portraits 
of  Dr.  and  Mrs.  Hay,  the  Duke  of  Gloucester,  Queen  Anne's 
son  ;  Lord  Halifax,  General  Crofts,  the  son  of  the  Duke  of 
Monmouth  ;  James  Drake  the  writer  (a  superb  portrait), 
Lord  Henry  Scott  and  others.  Most  of  these  were  signed  and 
dated  works.  The  one  of  Lord  Henry  Scott  was  minute,  only 
measuring  ij  in.  by  ij  in. ;  the  others  his  more  usual 
size,  about  3j  in.  by  4j  in.  There  are  two  belonging  to  the 
University  of  Oxford,  one  fine  one  of  William  III.  at  Wei- 
beck  Abbey,  and  several  in  the  Holburne  Museum  in  Bath. 

These  three  great  names  do  not,  however,  exhaust  the 
list  of  the  English  exponents  of  this  exquisite  art,  but 
before  I  pass  to  the  lesser  men,  some  attention  must  be 
given  to  John  Faber  and  his  son,  of  the  same  name. 

The  Fabers  were  mezzotint  engravers,  and,  like  Loggan, 
the  elder  Faber,  who  came  from  The  Hague,  worked  in 
Oxford  and  Cambridge,  producing  in  each  place  an 
important  series  of  portraits  of  founders.  Both  drew 
portraits  that  are  almost  miraculous  in  detail  and  finish, 
but  they  are  not  in  plumbago  but  in  Indian  ink,  and  are 
as  a  rule  adorned  with  elaborate  explanatory  legends, 
signatures  and  dates. 

In  the  possession  of  works  of  Faber,  Mr.  Wellesley's 
collection  stood  supreme.  His  portrait  of  Mary  II  . 
was  extremely  fine,  and  those  of  the  five  Dutch 
Admirals,  drawn  separately,  and  his  portraits  of  Sir 
George  Rooke,  Sir  James  Wishart,  Lord  Athlone  and 
General  Hill  left  little  to  be  desired.  The  Rijks  Museum 
in  Amsterdam  owns  three  of  Faber's  drawings,  the 
British  Museum  also  has  three.  I  have  one,  a 
portrait  (5j  X  4j)  of  Charles  I.,  "Done  from  ye 
Original  Painting  in  the  Possession  of  ye  Honble.  George 
Clarke  in  Oxford,"  which  is  as  fine  an  example  of 


PLUMBAGO   DRAWINGS       .  211 

Faber's  skill  as  any  collector  could  desire  to  possess. 
I  also  possess  two  portraits  of  William  III.,  and  two 
by  the  younger  Faber  of  George  I.  and  George  II., 
but  Mr.  Wellesley  had  twenty  by  the  father  and  five 
more  by  the  son,  including  the  earliest  dated  one  that 
is  known,  that  of  a  portrait  of  the  King  of  Saxony, 
dated  1688. 

Some  of  them  were  executed  in  Holland,  as  five  testify  to 
their  execution  at  The  Hague  in  1692,  and  two  at  Amster- 
dam in  1693  and  1696,  but  others  were  drawn  in  London 
or  at  Chatham,  as  the  legends  upon  them  set  forth.  Those 
of  the  younger  Faber  were  probably  all  completed  in 
London,  and  included  portraits  of  George  I.,  George 
II.,  and  Joseph  Addison,  one  of  them  being  partly  in 
Indian  ink  and  partly  in  plumbago. 

It  is  hardly  doing  justice  to  William  Faithorne,  the 
famous  engraver,  to  place  him  amongst  the  lesser  men, 
more  especially  as  the  plumbago  drawing  in  the  Wellesley 
collection  which  he  drew  of  Sir  John  Reresby  was  one  of  the 
finest  examples  of  this  art  that  I  have  ever  seen,  but  the 
grouping  is  rather  a  matter  of  necessity.  In  the  first 
group  were  those  whose  portraits  are  exclusively  in  plum- 
bago or  in  a  kindred  material,  in  the  later  group  those 
whose  portraits  in  plumbago  were  only  a  part  of  their  art, 
or  those  artists  who  specially  drew  for  engraving  afterwards 
and  not  so  much  for  the  purpose  of  making  an  ad  vivum 
portrait  for  its  own  sake.  Whether  Faithorne 's  portrait 
of  Reresby,  a  wonderful  production,  was  intended  to  form 
the  basis  for  a  print  one  can  hardly  say,  but  another  splendid 
example  of  his  work  in  pencil,  a  portrait  of  Charles  II., 
that  was  in  the  same  collection,  was  almost  certainly  a 
finished  study  for  an  engraved  work. 

Forster  had  a  relation  named  Charles  Forster,  who  drew 
in  1711,  but  whether  son  or  brother  to  the  greater  man  no 
one  can  tell;  and  White  had  a  son — George  White  (1684- 
1732).  I  have  portraits  by  each  of  them,  a  notable  one 


212  THE  MINIATURE  COLLECTOR 


PLATE  XXXII. 
PLUMBAGO  DRAWINGS. 

Drawing  in  Indian  Ink  by  John  Faber  the  elder  (1650-1721)  of 
Charles  I.  Inscribed  : 

"  CarolusI  Mag:  Brit:  Fr:  and  Hib:  Rex.  Done  from  ye  Original 
Painting  in  the  Possession  of  ye  Honble.  George  Clarke  in  Oxford  by 
J.  Faber"; 

and  also  described  on  the  reverse  as  depicting  the  King  "  as  he  sat 
his  trial  in  Westminster  Hall,  January  23,  1648.  A  Drawing  with 
the  Pen  by  J.  Faber." 

Collection  of  Dr.  G.  C.  Williamson. 


PLATE  XXXII 


PLUMBAGO  DRAWINGS  213 

by  George  White  representing  Queen  Anne.  Then  there 
is  the  Scottish  draughtsman,  David  Pa  ton  (fl.  1650- 
1700),  whose  finest  productions  belong  to  the  Earl  of 
Dysart  and  Lord  Hamilton  of  Dalzell,  but  by 
whom  I  have  a  portrait  of  Mary,  Marchioness  of 
Douglas,  and  Mr.  Wellesley  had  two  of  the  Earl 
of  Dalkeith  and  Sir  John  Dalrymple  ;  and  there  were 
several  painters  in  colour  who  were  responsible  occasionally 
for  portraits  in  pencil,  plumbago  or  crayon  that  may  be 
termed  miniatures.  Of  these  Mary  Beale  (1632-1697), 
Jonathan  Richardson  (1665-1745),  Balthaser  Denner 
(1685-1749),  William  Pether  the  mezzo tinter  (1738  ?-i82i), 
J.  Verbruggen  (fl.  1737),  George  Vertue  (1684-1756), 
Thomas  Worlidge  the  engraver  (1700-1766),  and  George 
Glover,  another  engraver  (fl.  1625-1658),  may  be  men- 
tioned. 

It  will  have  been  noticed,  however,  that  Loggan  and 
Faber  both  came  from  the  Continent  to  England,  and  the 
former  sojourned  a  while  in  Holland,  while  the  latter 
claimed  it  as  his  birthplace.  Furthermore,  Simon  de 
Pass  (1595  ?-i647),  another  plumbagoist  of  repute,  and  his 
brother  William  both  came  from  Holland,  and  it  is  easy 
to  understand  that  in  the  Netherlands  the  art  was  more 
constantly  practised  than  in  England,  and  that  some  of  the 
finest  pencil  miniatures  in  existence  were  therefore  produced 
by  Dutch  artists.  They  were  not,  strictly  speaking, 
plumbagoists,  for  the  use  of  the  hard  graphite  as  Loggan, 
White  and  Forster  used  it,  is  very  much  an  English  art ; 
but  we  shall  notice  that  a  large  number  of  Dutch  artists 
were  proficient  in  producing  portraits  in  pencil  that  can 
be  considered  as  miniatures. 

Abraham  de  Blois  drew  Nell  Gwynne  ;  William  Jacobs- 
zoon  Delff,  Maria  Strich,  the  teacher  of  Calligraphy  ;  Gerard 
Dou  the  portrait  of  Anne  Spiering,  daughter  of  his  patron 
the  Swedish  Minister  at  The  Hague;  Hendrick  Goltzius 
that  of  Robert  Earl  of  Leicester  ;  Jan  Liebens  that  of  the 


214  THE  MINIATURE  COLLECTOR 

Earl  of  Essex  ;  Crispin  de  Pass  of  Hendrick  Goltzius  ; 
Gesina  Ter-Borch  of  Moses  Ter-Borch,  and  Johannes 
Thopas,  Pieter  Van  der  Bauch,  Jan  Van  de  Velde,  Jan 
Wandelaar  and  Jan  Wienix  may  all  be  mentioned,  and 
these  by  no  means  complete  the  list  as  examples  of  Dutch 
artists  who  practised  this  special  art. 

A  place  must  certainly  be  found  for  the  eminent  engraver, 
Abraham  Blootelling,  by  whom  a  signed  portrait,  certainly 
a  miniature,  is  in  my  own  collection ;  and  there  are  many 
other  Dutchmen  who  might  also  be  mentioned.  Sweden 
produced  one  man  of  high  eminence  in  Charles  Bancks,  who 
drew  portraits  in  Indian  ink.  I  have  a  signed  work  by 
him  depicting  Oliver  Cromwell,  which,  however,  although  a 
fine  portrait,  is  not  an  ad  vivum  one ;  but  France,  in  the 
person  of  Robert  Nanteuil  (1623-1678)  came  very  close  to 
exceeding  all  others  in  skill,  and  his  portrait  of  Charles 
L'Abbe  de  Monveron,  from  the  Wellesley  collection,  was  one 
of  the  finest  pencil  portraits  that  could  ever  have  been 
drawn. 

This  branch  of  the  art  can  also  boast  of  several  anony- 
mous proficients,  whom  it  would  be  very  interesting  to 
identify. 

There  is  a  wonderful  study,  at  Oxford,  of  Archbishop 
Plunket,  "made  on  the  eve  of  his  execution,"  which  has 
been  given  to  Edward  Lutterell,  and  a  portrait  of  a  man 
which,  it  is  believed,  was  drawn  by  Loggan,  while  an  un- 
finished head  of  Charles  II.  has  been  given  to  Faithorne  ; 
but  besides  these  there  are  several  plumbago,  pencil  or 
crayon  or  Indian  ink  miniatures  bearing  no  signature,  and 
which  therefore  cannot  be  attributed  to  any  of  the  known 
artists,  although  it  is  quite  possible  that  some  one  of 
them  may  have  been  responsible  for  the  works  in  question. 

Fortunately  for  the  collector  it  is  difficult  if  not  impos- 
sible to  forge  these  plumbago  or  pencil  portraits.  The 
labour  and  skill  involved  is  too  great  for  it  to  be  worth 
while,  and  all  that  the  collector  has  to  guard  against  is 


PLUMBAGO  DRAWINGS  215 

the  possibility  of  copying  by  photography,  when  the 
presence  of  a  thick  curved  glass  of  very  inadequate  clearness 
may  increase  the  difficulty  of  the  problem.  As  a  rule, 
however,  these  drawings  are  not  forgeries,  and  in  case  of 
any  doubt  a  careful  investigation  of  the  supposed  drawing, 
out  of  its  frame,  with  the  aid  of  a  magnifying  glass,  should 
soon  reveal  its  authenticity  or  the  reverse. 

There  must  be  many  pencil  portraits  still  remaining 
hidden  in  old  scrapbooks,  as  a  while  they  were  wholly 
disregarded.  They  can  be  found  in  their  black  wooden 
frames  in  many  an  old  house,  but  still  oftener,  unframed, 
in  portfolios  or  scrapbooks,  and  in  such  places  they  must 
be  sought  for. 

They  are  of  peculiar  beauty  and  charm,  and  the  collector 
will  readily  fall  a  victim  to  their  fascination.  The  difficulty 
is,  as  already  stated,  what  to  reject,  as  almost  all  portrait 
drawings  are  beautiful.  Some,  of  course,  are  quite  large  ; 
too  large  perhaps  for  the  collector's  cabinet,  but  even  in 
such  case  they  can  adorn  his  wall.  The  great  treasures 
are,  however,  the  drawings  in  plumbago  or  Indian  ink  by 
Loggan,  White,  Forster,  Faber,  De  Pass,  Paton  and 
Faithorne,  and  these  need  an  assiduous  searcher,  but  the 
joy  of  obtaining  an  example  is  very  great,  and  its  possession 
a  never-ending  satisfaction  to  the  collector. 


CHAPTER  XIX 

THE  COLLECTOR 


ADVICE  to  the  collector  of  miniatures  falls  natur- 
ally under    three   heads :    how   to    obtain    the 
miniatures,  how  to  preserve  and  care  for  them, 
and  how  to  understand  them,  and  it  may  be  well  to  give 
some  detailed  information  on  all  of  these  three  points. 

First  of  all,  then,  as  to  collecting.  There  are  two  methods 
by  which  this  may  be  accomplished.  The  collector  may 
either  buy  here  and  there,  wherever  he  maybe,  such  minia- 
tures as  may  take  his  fancy,  purchasing  them  in  the  small 
curiosity  shops  of  the  town,  or  at  the  pawnbrokers,  or 
buying  them  at  auction  sales,  and  may  gather  in  quite  a 
considerable  number  of  miniatures,  good,  bad  and  in- 
different, by  such  a  method  of  procedure.  He  may  start 
with  a  natural  eye  for  what  is  delightful,  what  the  French 
so  cleverly  call  flair,  picking  out  that  which  pleases 
him  or  appeals  for  one  cause  or  another,  or  he  may  simply 
buy  under  such  circumstances  freely,  without  any  special 
selection  or  idea  of  beauty,  but  simply  because  the  things 
are  miniatures,  or  are  called  miniatures,  and  their  posses- 
sion will  increase  his  collection  and  give  him  a  considerable 
number  of  pretty  things  with  which  to  adorn  his  rooms. 
An  alternative  to  this  method  is  to  buy  under  the  advice 
of  an  expert,  or  a  first-rate  dealer,  and  to  buy  selected  fine 
things  that  are  recommended  to  him.  Which  procedure 
the  collector  adopts  must,  to  a  certain  extent,  depend 
upon  the  size  of  his  purse.  If  he  has  ample  means,  and  is 
able  to  indulge  in  his  hobby  to  his  heart's  content,  he  will 

216 


THE  COLLECTOR  217 

probably  without  any  hesitation,  especially  if  he  be  wise, 
select  the  second  method,  but  the  ordinary  collector  will 
probably  be  forced  by  circumstances  to  select  the  first 
plan.  He  will  have  a  certain  amount  of  funds  at  his  dis- 
posal, which  he  will  not  mind  expending  upon  a  collection, 
treating  it  as  a  hobby  upon  which  he  is  able  to  spend  no- 
more  than  a  fixed  proportion  of  his  means,  and  he  will  natu- 
rally desire  to  obtain  for  this  expenditure  either  as  large 
a  collection  as  possible,  or  as  choice  a  selection  as  he  can. 
If  he  does  happen  to  be  gifted  with  flair,  he  will  probably 
succeed  in  purchasing  some  quite  interesting  and  probably 
important  portraits,  and  on  the  whole  this  system  of  general 
collecting  is  the  one  which  I  am  inclined  to  recommend 
to  the  ordinary  collector,  especially  at  first.  It  is  by  far 
the  better  method  for  acquiring  information  and  know- 
ledge of  the  subject,  and  such  knowledge  will  be  a  source 
of  pleasure  to  the  collector  as  the  years  go  on.  Moreover,, 
by  such  a  method,  the  collector  will  train  his  own  judg- 
ment and  will  gradually  pile  up  a  mass  of  experience, 
which  will  become  increasingly  useful  to  him.  I  do  not 
quite  say  all  should  be  fish  that  comes  to  his  net.  The 
indiscriminate  purchase  of  everything  that  is  called  a 
miniature  is  by  no  means  to  be  commended.  It  is,  more- 
over, a  somewhat  costly  plan,  because,  if  the  collector 
starts  with  the  idea  that  he  is  going  to  buy  everything: 
that  is  offered  to  him  in  these  smaller  shops,  and  thus  to 
have  a  very  large  collection,  in  the  hope  of  securing  one  or 
two  fine  things  amongst  the  lot,  he  will  have  to  expend 
a  very  considerable  sum  of  money. 

Hence  one  has  to  advise  a  course  rather  between  the  two 
extremes ;  general  collecting,  but  at  the  same  time  with 
discretion.  It  may  be  taken  for  granted  that  no  one  will 
begin  to  collect  miniatures  in  a  serious  fashion  without 
some  sort  of  knowledge  of  his  subject,  which,  however 
negligible,  will  yet  surely  enable  him  to  reject  Baxter 
prints,  coloured  photographs,  eighteenth- century  coloured 


2i8  THE  MINIATURE   COLLECTOR 

stipple  prints,  modern  chromo-lithographs,  illustrations 
cut  out  from  the  colour  plates  of  books  on  miniatures, 
and  other  similar  deceptions,  all  of  which  are  at  the  present 
day  framed  up  in  miniature  frames,  and  sold  as  miniatures. 
I  can  hardly  conceive  of  a  collector  who  starts  seriously 
without  sufficient  knowledge  to  refrain  from  such  things, 
and  he  will  then  devote  his  attention  to  portraits  which 
are  strictly  speaking  miniatures,  instead  of  to  these,  which 
by  no  stretch  of  imagination  can  be  included  under  this 
description.  Granted,  then,  that  he  has  sufficient  judgment 
to  make  the  necessary  rejections,  I  advise  a  general  collec- 
tion. It  will  be  well  to  scrutinise,  rather  carefully,  what 
he  purchases,  even  under  these  circumstances,  because  I 
must  warn  him  that  there  are  many  coloured  illustrations 
of  miniatures,  framed  in  miniature  frames,  under  rather 
thick  glass,  which  are  palmed  off  as  actual  miniatures, 
and  which  do  require  a  certain  amount  of  care,  or  the 
collector  may  easily  be  beguiled.  I  speak  with  a  certain 
bitterness  of  these  forgeries,  for  they  are  nothing  less, 
because  in  many  instances  they  are  actually  illustrations 
from  my  own  books  and  from  those  of  other  writers,  and 
I  have  had  them  offered  to  me,  over  and  over  again,  by 
dealers  who  were  ignorant  of  my  identity,  and  who  strongly 
recommended  these  coloured  illustrations,  in  some  instances 
hand-coloured  on  vellum,  taken  from  costly  books,  as 
original  productions  of  the  art  of  the  miniaturist. 

Putting  aside  these,  however,  because  very  early  the 
collector  should  learn  to  identify  them,  he  has  a  wide  field 
for  collecting,  and  in  it  he  may  frequently  be  successful. 
He  will  purchase,  wherever  he  may  happen  to  be,  the 
miniatures  which  take  his  fancy,  and  which  he  thinks  are 
delightful,  and  worthy  of  a  place  in  his  collection,  and  then, 
as  his  knowledge  increases,  he  will  sift  the  collection, 
gradually  getting  rid  of  the  inferior  things,  and  purchasing 
better  in  their  stead.  In  some  cases  he  may,  by  this 
process,  obtain  quite  important  miniatures,  or  damaged 


THE  COLLECTOR  219 

miniatures  by  important  artists,  and  these  latter  will  be  of 
considerable  service  in  forming  his  judgment,  and  helping 
him  to  acquire  even  finer  things.  At  the  outset,  he  must 
not  imagine  that  the  days  for  obtaining  bargains  have  yet 
wholly  passed.  It  is  not  so  ;  every  collector  has,  in  his 
experience,  purchased  bargains  occasionally.  The  chances 
do  not  occur  very  often  ;  those  who  sell  the  miniatures  are 
often  better  qualified,  or  at  least  as  well  qualified,  as  the 
purchaser,  to  judge  of  the  value  of  the  particular  portrait 
in  question,  but  the  reverse  is  sometimes  the  case,  and 
there  have  been  miniatures  discovered  in  pawnbrokers' 
shops  or  in  small  country  auctions,  and  obtained  for  a  few 
shillings,  which  were  worth  as  many  pounds  ;  while  as 
long  as  collecting  goes  on,  these  chances  are  pretty  sure  to 
occur,  even  though  admittedly  less  frequently  than  they 
used  to  happen.  The  collector  should  make  up  his  mind 
that  in  any  fresh  town  he  visits,  if  he  has  the  opportunity, 
he  will  rummage  amongst  the  old  curiosity  shops  and 
pawnbrokers,  and  see  what  spoil  he  can  obtain.  He  must 
start  with  the  information  that  many  of  those  who  keep 
these  shops  are  prepared  for  him  already,  and  that  they 
possess  clever  copies  of  miniatures,  all  nicely  framed  and 
mounted  in  the  old  fashion,  with  which  to  beguile  him. 
Let  him  remember  that  there  is  a  steady  and  increasing 
market  for  old  frames,  that  these  generally  fetch  their  full 
value,  and  the  explanation  of  this  is  that  there  are  indigent 
artists  who  are  ready  to  make  copies  more  or  less  skilful , 
of  old  miniatures,  and  that  there  are  unscrupulous  dealers 
who  are  ready  to  put  these  copies  into  old  frames,  with 
dusty,  grubby  glass  over  them,  in  the  hope  of  inducing 
the  ignorant  collector  to  pay  high  prices  for  their  wares. 

In  no  other  way  than  by  slow  and  painfully  acquiring 
experience,  can  the  small  general  collector  learn  how  to 
reject  these  copies  in  forming  his  collection. 

There  are  a  few  general  rules  which  no  doubt  he  will 
quickly  learn.  He  will  have  to  bear  in  mind  the  date  of 


220  THE  MINIATURE  COLLECTOR 

the  introduction  of  ivory,  and  know  that  a  miniature 
painted  on  that  substance  must,  at  least,  be  later  than  the 
time  of  Queen  Anne,  Bernard  Lens  having  had,  so  far  as 
we  know,  the  honour  of  introducing  the  use  of  ivory  for 
miniature  painting.  He  will  know  that  a  miniature 
painted  on  a  playing  card  should  belong  to  Elizabethan 
or  to  Stuart  times,  and  he  will,  after  a  while,  be  able  to 
pick  out,  by  the  shape  of  the  pips  on  the  card  or  by  its 
texture,  the  original  from  the  forgery,  if,  by  good  chance, 
he  happens  to  come  across  a  genuine  Elizabethan  minia- 
ture, and  is  able  to  examine  the  back  of  it.  Then  he  will 
begin  to  accustom  himself  to  a  certain  knowledge  of 
costume.  If  he  finds  a  portrait  of  a  man  in  undoubtedly 
Elizabethan  costume,  or  in  that  of  Stuart  times  painted  on 
a  large  piece  of  ivory,  he  will  at  once  decide  in  his  own 
mind  that  it  is  either  a  reproduction  of  an  earlier  painting, 
prepared  for  illustration  in  one  of  the  portrait  books  of 
the  time  of  George  III.,  or  else  it  is  a  forgery,  wholly 
modern,  for  painted  on  that  substance,  it  could  not  possibly 
be  a  portrait  prepared  ad  viVum.  The  same  thing  would 
apply  if  he  found  a  portrait  of  a  man  in  armour,  he  would 
know  that  it  must  belong  to  an  earlier  period  than  the 
use  of  ivory  would  warrant.  And  so,  from  the  first,  the 
material  upon  which  the  miniature  is  painted  will  have 
some  sort  of  information  about  it  which  will  convey 
knowledge  at  once  to  his  own  mind.  Ideas  of  technique 
and  knowledge  of  colouring  must  come  much  later.  Infor- 
mation about  signatures  is  also  a  matter  of  later  acquisi- 
tion, but  at  the  same  time  he  ought  to  start  with  some 
general  knowledge  of  these,  and  he  should  use  some  judg- 
ment as  to  where  he  buys  his  portraits.  A  collector,  a 
little  while  ago,  purchased  in  Nice,  of  all  places  in  the 
world,  three  miniatures  purporting  to  be  works  by  Cosway, 
Plimer  and  Engleheart,  forgetful  of  the  fact  that  in  such  a 
town  as  Nice  preparations  are  made  to  beguile  the  unwary, 
and  to  have  fine  showy  objects,  at  high  prices,  for  the 


THE  COLLECTOR  221 

delectation  of  those  who  have  money,  all  at  once,  to  spend, 
and  who  perhaps  spend  it  without  much  judgment.  Paris, 
Brussels,  Nice,  are  not  quite  the  cities  where  one  would 
expect  to  find  important  English  eighteenth-century 
miniatures,  especially  at  bargain  prices.  Purchasing  on 
the  Continent  must  always  be  effected  with  a  rather 
graver  sense  of  responsibility  than  in  England,  because 
there  are  regular  schools  of  copyists  in  many  places,  especi- 
ally in  Brussels,  and  some  of  the  copies  are  done  with 
extreme  skill  and  accuracy.  Let  it  be  remembered,  with 
regard  to  one  miniature  painter,  what  has  already  been 
mentioned,  that  Cosway  practically  never  signed  on  the 
face  of  the  miniature,  and  therefore  anything  signed  by 
him  in  that  fashion  may  at  once  be  rejected.  The  same 
thing  would  apply  to  a  full-length  signature  by  Plimer 
or  Engleheart,  as  these  men  signed  with  their  initials, 
and  many  of  the  forgeries  bear  their  full  names.  Further- 
more in  buying  miniatures,  it  is  as  well  to  have  with  one  a 
card  on  which  may  be  marked  the  dates  of  birth  and  death 
of  certain  notable  artists,  as  a  guide  to  collecting,  and  if, 
on  this  card,  the  names  also  of  some  of  the  kings  and 
queens  and  of  some  of  their  more  notable  followers  should 
also  be  mentioned,  it  would  be  all  the  better,  for  I  myself 
have  been  offered  a  portrait  of  Elizabeth  painted  by  Samuel 
Cooper,  and  a  portrait  of  Queen  Anne  painted  by  an  im- 
portant late  eighteenth-century  miniaturist,  and  a  card  of 
reference  of  dates  will  prevent  a  purchase  of  this  kind 
being  made. 

The  general  collector  should  be  recommended,  in  form- 
ing his  collection,  to  buy  freely.  He  must  make  up  his 
mind  to  be  taken  in,  sometimes — even  the  best  experts  have 
occasionally  to  confess  to  a  slip — and  this  course  is  sure  to 
happen  to  the  young  collector — but  he  will  buy  his  experi- 
ence, and  it  will  thus  be  the  more  precious  to  him.  It 
will  be  well  not  to  buy  at  too  high  a  price — if  the  miniature 
offered  is  a  really  early  one,  he  will  hesitate  and,  I  hope, 


222  THE   MINIATURE  COLLECTOR 

take  someone  else's  advice — but  on  the  whole,  it  is  well  to 
sweep  into  the  early  collection  a  large  number  of  portraits, 
more  or  less  good,  and  then  gradually  to  reject  those  that 
are  not  satisfactory,  and  to  retain  those  that  are  important, 
in  this  way  building  up  a  fabric  of  real  experience,  very 
precious  and  very  valuable. 

The  other  type  of  collector,  to  whom  allusion  has  already 
been  made,  will  pursue  quite  a  different  method.  He  will 
determine  to  have  only  of  the  best.  He  will  possess 
means,  more  or  less  substantial,  at  his  disposal,  and  will 
wish  to  use  these  means  to  the  best  possible  advantage. 
He  will  consequently  find  out  some  reliable  dealer  or 
friendly  expert,  will  make  arrangements  for  the  benefit 
of  their  advice,  and  will  buy  only  under  such  advice.  There 
are  great  advantages,  no  doubt,  in  this  form  of  collecting, 
but  it  is  one  that  can  be  adopted  by  very  few  people,  and 
I  am  inclined  to  question  whether,  in  purchasing  in  this 
fashion,  there  is  anything  like  the  joy  to  the  collector,  as 
compared  with  the  satisfaction  of  the  general  collector 
who  enters  with  great  avidity  into  the  pursuit  of  his 
hobby,  and  who  slowly  builds  up  his  collection.  I  very 
much  doubt  whether  the  more  careful  collectors  can  thus 
acquire  anything  like  the  amount  of  knowledge  that  the 
general  collector  may  hope  to  obtain.  Reliance  on  other 
people  is  not  the  best  method  of  obtaining  experience. 
Still,  the  possession  of  fine  things  is  always  a  joy,  and 
slowly  the  general  collector,  surrounded  only  by  choice 
examples,  will  polish  his  taste,  and  acquire  a  knowledge  of 
what  is  really  first-rate,  which  probably  it  will  be  difficult 
for  the  other  man  to  obtain  ;  but,  for  many  years,  the 
special  collector  must  place  his  reliance  on  those  who  guide 
him,  because  the  ordinary  means  of  buying  experience  are 
denied  to  him.  Here,  again,  it  may  be  well  to  offer  a  word 
of  caution  as  to  the  selection  of  the  dealer  or  expert.  Some 
kind  of  business  arrangement  should  be  entered  into  with 
the  person  who  is  employed.  It  should  not  be  to  the 


THE  COLLECTOR  223 

dealer's  advantage  to  offer  to  the  collector  the  highest 
priced  portraits.  The  fee  that  he  should  obtain  ought  not 
to  be  based  upon  the  intrinsic  value  of  the  portrait,  other- 
wise the  temptation  comes  that  the  dealer  will  recommend 
a  highly  priced  miniature,  even  though  he  may  be  a  little 
doubtful  of  its  authenticity,  or  its  condition,  by  reason  of 
the  commission  which  will  accrue  to  him  from  the  purchase. 
It  will  not  be  difficult  to  enter  into  some  plan  by  which  a 
definite  fee  for  each  miniature  purchased ;  or  a  fee  covering 
a  certain  number  of  miniatures;  or  a  fee  for  advice, 
irrespective  of  purchase ;  may  be  arranged,  and  the  pur- 
chase, if  it  can  be  planned,  should  not  be  made  exclusively, 
or  even  generally,  from  the  adviser.  It  would  be  well  if 
the  special  collector  could  obtain  the  services  of  an  expert 
who  would  have  no  interest  in  the  purchase,  and  whose 
privilege  it  would  be  simply  to  give  an  opinion  to  the  best 
of  his  knowledge.  He  might  then  be  asked  to  substantiate 
his  opinion  by  a  statement  of  the  reasons  which  cause  him 
to  form  it,  and  from  these  documents  or  verbal  statements 
the  collector  will  gradually  possess  criteria  upon  which  to 
base  his  experience. 

We  now  arrive  at  the  second  question,  the  miniatures 
having  been  purchased,  what  should  be  done  with  them  ? 
Here  I  want  to  urge  the  collector  to  make  up  his  mind  to 
open  every  miniature  which  he  collects.  It  will  not  TDC 
easy  for  him  to  do  so  ;  some  of  them  are  so  skilfully  fastened 
into  their  frames  that  to  open  them  and  remove  the  min- 
iature is  a  matter  requiring  some  judgment  and  skill.  It 
will  be  well  to  take  the  advice  of  an  ordinary  working 
jeweller  in  such  a  matter,  but  not  to  hand  the  miniature 
to  the  man  in  question,  and  to  leave  it  with  him.  This  for 
several  reasons,  the  chief  being  that  it  is  important  that 
the  collector  should  see  everything  that  is  contained  in  the 
frame,  not  only  the  miniature  itself,  but  all  the  paper  or 
cardboard  that  is  used  for  the  backing.  One  can  never 
tell  what  may  be  found  inside  the  frame,  and  the  opening 


224  THE   MINIATURE  COLLECTOR 

of  the  miniature  should  take  place  in  the  presence  of  the 
collector,  or  the  jeweller  should  be  told  that  every  scrap  of 
material  that  is  found  inside  the  frame  must  be  retained 
for  the  owner's  inspection.  To  remove  the  tiny  little 
pins  that  fasten  the  two  halves  of  the  gold  frame  together 
is  generally  a  matter  of  some  difficulty  which  can  only 
be  accomplished  by  means  of  jewellers'  tools.  After  a 
while,  perhaps  the  collector  will  learn  how  to  do  it  himself  ; 
but  even  if  he  does,  he  will  be  wise  to  take  the  advice  of  a 
craftsman.  Then,  having  opened  his  portrait,  he  will 
examine  it  with  a  magnifying  glass  with  great  care.  He 
may,  perhaps,  descry  the  initials  of  the  artist,  painted  on 
the  extreme  edge  of  the  portrait,  and  in  many  instances 
covered  up  by  the  mount  or  the  frame.  He  will  determine 
the  material  upon  which  the  miniature  is  painted,  whether 
ivory  or  cardboard,  paper  or  vellum,  and  he  may  by  that 
means  find  out  its  period  and  character.  He  will  be  almost 
deceived  at  first  by  some  of  the  materials  which  so  cleverly 
imitate  ivory.  Unless  he  possess  rare  judgment,  he  will 
mistake  some  of  these  compositions  for  actual  ivory, 
until  he  has  the  miniature  actually  in  his  hand ;  and  even 
then  he  must  be  careful,  because  there  is  a  material  now 
in  use  which  so  closely  resembles  ivory  that  even  an  able 
expert  is  occasionally  puzzled  by  it.  Its  presence  will, 
however,  enable  him  to  know  at  once  that  the  object  in 
his  hands  is  a  modern  forgery,  because  no  such  material 
was  known  in  the  eighteenth  century.  Then  he  will  scruti- 
nise the  pieces  of  paper  that  have  been  used  at  the  back  of 
the  miniature,  or  to  set  it  in  its  frame,  because,  in  some 
instances,  he  will  find  written  upon  them  information  of 
value.  Sometimes,  the  artist  gives  his  name  and  address 
and  date  upon  such  backing  paper ;  sometimes  the  name 
of  the  sitter,  and  his  or  her  position  in  life,  is  marked  ;  some- 
times, if  the  artist  has  himself  put  the  miniature  into  its 
frame,  there  are  bits  of  paper  upon  which  portions  of  his 
own  sketches  are  preserved,  used  in  backing  up ;  and  occa- 


THE  COLLECTOR  225 

sionally,  there  are  notes  in  the  handwriting  of  the  artist, 
or  of  some  other  person,  of  the  greatest  possible  importance. 
There  was  once  a  lady  who  sat  to  Cosway,  and  the  artist, 
after  commencing  the  portrait,  had  a  quarrel  with  his  fair 
sitter  and  refused  to  finish  the  work.  He  sent  the  portrait 
back  again  to  the  lady,  a  Mrs.  Whittington,  with  an  inscrip- 
tion written  upon  it  which  conveyed  his  opinion  of  her 
character.  It  read  thus  :  "  Impatient  of  advice,  excessive 
pride  upon  a  false  foundation,  a  specious  exterior,  an 
unfeeling  heart,  inconstant,  ungrateful ;  and  the  writer 
of  this  may  justly  add ;  as  he  has  woefully  experienced  it, 
cruel  and  mercenary."  Here,  indeed,  was  a  revelation, 
proving  how  bitter  was  the  quarrel  between  the  artist  and 
his  sitter,  and  how  revengeful  was  the  artist  himself.  It 
did  not  appear  from  this  particular  miniature  that  the 
inscription  had  at  first  been  seen  by  the  lady  in  question, 
because  the  piece  of  paper  containing  it  was  covered  over 
by  another ;  but  a  later  possessor  had  discovered  it,  and 
had  given  a  glass  back  to  the  miniature  (a  wise  arrangement, 
often  to  be  recommended),  and  through  this  glass  could 
be  seen  the  whole  of  the  inscription,  which  a  long  time 
before  the  artist,  in  his  bitter  feeling,  had  written.  It  is  not 
often,  of  course,  that  such  a  piece  of  evidence  as  this 
comes  to  light,  but  on  a  portrait  belonging  to  the  Duke  of 
Portland  was  found  an  inscription  reading  thus :  "  The 
finishing  this  picture  and  another,  which  Mr.  Graham  took 
away,  is  not  paid  for,"  and  this  statement,  although  proved 
not  to  be  in  the  handwriting  of  Cooper  himself,  who  painted 
the  miniature,  is  yet  one  of  great  importance,  and  gives  us 
the  information  that  the  miniature  belonged  to  Graham  the 
collector.  On  another  similar  portrait,  representing  a 
young  girl  of  about  sixteen,  some  one,  presumably  the 
artist  (although  we  cannot  be  absolutely  certain  of  his 
handwriting),  has  written  the  words  "  Tiresome,  fidgety," 
and  it  is  to  be  presumed  that  these  two  adjectives  refer 
to  the  girl  who  sat  for  the  miniature.  Yet  on  other  in- 


226  THE  MINIATURE   COLLECTOR 

stances  there  are  notes  by  the  artist  as  to  his  having  painted 
other  portraits  of  the  same  person,  or  brief  biographies, 
or  allusions  to  the  fact  that  he  had  painted  the  lady  before 
her  marriage,  and  giving  her  maiden  name,  or  statements 
that  the  miniature  had  been  painted  in  Bath,  or  Bristol,  or 
wherever  the  sitting  took  place,  or  that  it  had  been  finished 
in  London,  or  that  it  had  been  framed  by  Orme  or  some 
other  framer  of  the  day,  or  a  statement  of  its  cost,  or  a 
number  which  may  refer  to  a  numbered  list  in  the  artist's 
own  notebook.  All  these  interesting  things  can  only  be 
found  when  the  miniature  is  opened,  and  they  should  be 
recorded  very  carefully  by  the  collector  in  his  notebook. 
This  notebook  he  should  start  as 'soon  as  he  takes  up  col- 
lecting, and  in  it  he  should  put  down  the  date  when  he 
purchased  the  portrait,  where  it  was  obtained,  what  he 
gave  for  it,  what  was  the  result  of  the  examination,  and 
whose  work  he  considers  it  to  be,  and  then  this  last  piece 
of  information  may  be  altered  in  the  light  of  later  experi- 
ence or  in  the  judgment  of  some  expert  whom  the  collector 
may  consult.  If  he  is  quite  certain  whom  the  portrait 
represents,  it  will  be  well  to  incur  the  small  cost  of  inscribing 
the  name  upon  the  frame,  but  here  we  enter  upon  a  question 
of  some  complexity.  An  expert  of  the  highest  repute, 
Mr.  Charles  F.  Bell,  who  has  charge  of  the  Ashmolean 
Museum  at  Oxford,  in  an  essay  dealing  with  historical 
portraits,  used  these  words  :  "  In  no  branch  of  iconography 
is  so  much  caution  and  scepticism  required  as  in  dealing 
with  miniatures,"  and  in  this  statement  Mr.  Bell  is  un- 
doubtedly correct.  The  dealer  and  the  collector  are  both 
far  too  apt  to  give  names  to  the  portraits.  A  named  por- 
trait is,  of  course,  more  interesting  than  one  that  has  no 
name.  It  is  more  delightful  to  look  at  a  miniature  and 
to  say  it  represents  Lord  Clarendon,  Queen  Anne,  Samuel 
Pepys,  Queen  Elizabeth,  the  Duke  of  Marlborough,  or 
Kitty  Fisher,  than  to  have  to  say  "  it  represents  a  man  or 
a  woman  whose  names  are  unknown  to  me";  but  at  the 


THE  COLLECTOR  227 

same  time  it  is  dangerous,  nay  more,  it  is  even  fraudulent 
to  attach  a  name  to  a  miniature  about  which  there  is  con- 
siderable doubt.  It  is  permissible  to  say,  "  Believed  to 
represent  Lord  Clarendon,"  or  the  person  whose  name  the 
portrait  is  supposed  to  bear,  or  the  phrase  may  be  varied 
to  the  effect  that  it  is  suggested  this  represents  so-and-so, 
or  the  initials  on  the  back  appear  to  suggest  that  the  por- 
trait represents  such-and-such  a  person.  There  may  be 
cases,  and  there  probably  will  be  many  such,  in  which  the 
authenticity  of  the  portrait  is  known.  The  collector  may 
buy  from  the  family,  portraits  of  members  of  that  family, 
and  it  may  be  reasonably  clear  as  to  who  the  pictures 
represent,  and  in  cases  of  unimportant  persons,  Mr.  and 
Mrs.  John  Smith,  and  Mr.  and  Mrs.  Henry  Robinson,  it 
will  not  be  so  serious  an  error  to  put  the  names  that  are 
given  to  the  collector  on  to  the  portraits  as  it  will  be  when 
these  names  represent  persons  of  historic  importance,  who 
have  occupied  great  positions  in  the  world.  In  any  case, 
if  a  minor  dealer  presents  the  collector  with  a  miniature 
and  says  "  This  represents  Queen  Anne,  or  Samuel  Pepys," 
the  statement  should  be  received  with  the  utmost  caution, 
and  the  name  should  not  be  fastened  upon  the  miniature 
until  very  careful  investigation  has  been  made  by  its  new 
owner. 

The  miniature  having  been  opened,  all  that  was  found 
within  the  frame  should  be  replaced,  not  a  scrap  should  be 
left  out.  The  portrait  should  then  be  closed  up  with  great 
security,  so  that  the  damp  cannot  reach  the  miniature. 
The  glass  should  be  dried  carefully,  and  with  particular 
care  if  the  day  on  which  the  opening  takes  place  happens 
to  be  a  moist  one,  because  it  is  of  the  highest  importance 
that  no  moisture  should  be  introduced  into  the  miniature, 
it  may  start  a  fungoid  growth  which  will  be  very  detri- 
mental in  later  years.  The  opening  and  the  replacing 
should,  if  possible,  take  place  in  a  warm  room,  and  the 
glass,  the  mount,  and  the  frame  should  be  held  for  a 


228  THE  MINIATURE  COLLECTOR 

moment  or  two  before  the  fire  to  ensure  their  being  abso- 
lutely dry.     Then  the  miniature  should  be  deposited  in  a 
cabinet  or  in  a  glass  case,  and  here  again  a  few  words  of 
caution  are  advisable.     Miniatures,  especially  those  painted 
on  ivory,  are  very  liable  to  change  in  colour.     They  should 
never  be  placed  in  a  cabinet  or  case  opposite  to  a  window. 
They  should  never  be  hung  in  that  position  in  the  room 
which  is  in  some  ways  the  most  natural  for  them,  over  the 
mantelpiece,  because  they  should  not  be  exposed  to  the 
changes  of  temperature  that  particularly  belong  to  that 
wall  of  the  room.     This  is  a  recommendation  that  is  con- 
stantly ignored.     Over  and  over  again,  miniatures  are  to 
be  found  on  the  mantelpiece,  or  hung  in  frames  over  the 
mantelpiece,  wholly  regardless  of  the  fact  that,  during  a 
certain  season  of  the  year,  that  wall  is  warmer  than  any 
other  wall  in  the  room,  while  throughout  the  summer  it 
has  no  more  warmth  than  the  other  walls,  and,  in  fact, 
being  an  inside  wall  and  not  exposed  to  the  light  of  the  sun, 
is  even  colder  than  other  walls  of  the  room  which  may  have 
a  southern  aspect.     Miniatures  should  be  guarded  from 
extremes  of  temperature.     Ivory  is  liable  to  curve  under 
heat ;  if  it  gets  very  dry,  the  colours  may  perish  from  it ; 
if  it  gets  damp,  there  may  come  a  fine  growth  on  the 
ivory,  or  on  the  glass,  which  may  interfere  with  the  colour. 
To  sum  up,  a  collection  of  miniatures  should  be  treated 
with  the  care  that  beautiful  objects  demand,  and  housed 
with  as  scrupulous  attention  as  one  would  give  to  the 
most  precious  or  to  perishable  things.    The  best  method 
for  protecting  miniatures  is  to  have  them  in  a  little  cabinet 
away  from  direct  light,  illuminated  perhaps  by  an  electric 
lamp,  which  can  be  put  on  when  necessary,  and  when  not 
needed,  may  be  switched  off  and  guarded  by  a  curtain  or 
a  blind  which  falls  over  the  case,  and  protects  its  contents 
from  the  heat  or  the  actinic  effect  of  sunlight.     To  each 
miniature  should  be  attached  a  label  bearing  a  number. 
This  may  be  a  small  gummed  label,  fastened  on  to  the  glass, 


THE  COLLECTOR  229 

or  on  to  the  back  of  the  portrait,  or,  better  still,  a  little 
metal  label  attached  to  the  ring,  and  the  label  should 
correspond  as  to  number  with  a  catalogue  which  the  col- 
lector should  himself  prepare.  However  small  the  col- 
lection, it  should  be  catalogued,  and  the  catalogue  should 
contain  all  the  information  that  can  be  gathered  up. 
From  time  to  time,  no  doubt,  the  collector  will  vary  his 
information,  and  the  catalogue  will  show  evidence  of  in- 
creasing knowledge  and  experience,  but  it  should  be  in 
existence  from  the  beginning,  as  a  help  to  the  memory  of 
the  collector,  as  a  guide  to  his  knowledge,  and  as  a  means 
of  identification. 

Finally,  we  come  to  the  third  section  of  the  subject, 
the  study  of  the'portraits.  As  regards  the  persons  depicted, 
a  collector  should  make  up  his  mind  to  examine  books  of 
portraits,  collections  of  drawings  and  collections  of  prints. 
If  he  is  going  to  collect  in  serious  fashion,  he  should  take 
out  a  ticket,  if  resident  in  London,  for  the  Print  Room  at 
the  British  Museum,  and  should  often  visit  that  delightful 
room,  and  examine  all  the  known  engravings  or  drawings 
of  the  person  whose  portrait  he  imagines  he  possesses. 
He  will  sometimes  find  he  has  in  his  possession  the 
actual  miniature  from  which  an  engraving  is  made,  but,  in 
more  instances,  he  will  find  that  the  evidence  is  in  the 
contrary  direction,  and  will  have  to  relinquish  the  idea  that 
the  portrait  represents  the  person  whose  name  he  would 
so  gladly  have  attached  to  it.  Attention  given  to  por- 
traits will  gradually  help  him  to  decide.  He  can  do  so  in 
no  other  satisfactory  fashion. 

As  to  the  artist  who  painted  the  portraits,  he  will  do 
well  to  give  careful  study  to  the  information  contained  in 
this  book,  and  in  others  written  upon  the  subject.  He  will 
do  well  to  form,  slowly  but  steadily,  a  library  of  books 
dealing  with  miniatures.  Some  are  quite  inexpensive, 
and  could  readily  be  obtained.  For  others  he  may  have 
to  watch  the  catalogues  of  the  second-hand  booksellers  for 


230  THE  MINIATURE   COLLECTOR 

a  long  period,  and  his  search  may  eventually  be  rewarded. 
Some,  and  the  best  of  all,  may  probably  be  beyond  his 
reach.  Some  are  only  privately  printed,  and  others  that 
are  issued  are  very  costly,  but  he  should  take  every  oppor- 
tunity of  examining  them,  if  the  chance  occurs,  and  most 
could  be  found,  for  the  advantage  of  the  London  resident, 
either  in  the  British  Museum  or  in  the  excellent  Art  Library 
of  the  Victoria  and  Albert  Museum.  For  those  living  in 
the  provinces,  there  are,  of  course,  greater  difficulties,  but 
in  many  places  there  are  good  reference  libraries  being 
formed,  and  also  collections  of  prints  and  drawings  of 
great  value  to  the  iconographer.  Brighton,  for  instance, 
is  well  served  in  this  respect ;  no  provincial  town  could 
afford  much  better  opportunities  for  research.  Birming- 
ham and  Liverpool,  Bradford,  Sheffield,  Bristol,  Bath, 
Plymouth  and  many  other  places  are  in  like  position,  and 
these  towns,  and  numerous  other  places,  have  collections 
of  prints  and  drawings  and  of  books  of  reference  that  will 
be  found  of  great  value  to  the  collector.  For  those  who 
live  in  yet  more  remote  places,  the  difficulties,  of  course,  are 
increased,  but  even  they  have  chances,  more  or  less  fre- 
quent, of  coming  to  the  larger  towns,  and  working  at  the 
subjects  that  interest  them,  and  many  of  the  books  of 
reference  dealing  with  miniatures  are  illustrated,  more  or 
less  completely,  and  so  are  of  great  importance  in  train- 
ing up  judgment. 

Study  is  essential ;  the  collector  of  miniatures  is  not  a 
person  who  simply  buys  a  few  pretty  things  for  the  adorn- 
ment of  his  room  without  any  knowledge  of  who  they  may 
represent  or  who  painted  them.  If  he  is  to  be  a  collector, 
he  should  be  a  student,  and  he  must  have  a  broad  outlook. 
He  must  not  be  swayed  by  fashion,  buying  only  the  works 
that  happen  to  be  popular  at  the  moment,  a  fault  that 
perhaps  belongs  more  to  the  wealthy  collector  than  to  the 
general  one,  but  still  it  has  attached  itself  to  each  class. 
The  special  collector  was  at  one  moment  paying  exorbitant 


THE  COLLECTOR  231 

prices  for  the  works  of  Plimer,  because,  at  that  instant,  they 
were  in  great  demand  and  everybody  wanted  them,  the 
result,  of  course,  being  that  miniatures  by  Plimer  fetched 
an  abnormal  figure,  and  the  ordinary  collector  could  not 
touch  them.  The  same  thing  applies  to  the  works  of  all 
artists,  whether  the  collector  be  fond  of  oil  or  water-colour 
drawings  or  miniatures  ;  but  the  satisfactory  collection 
is  that  which  contains  examples  of  various  periods,  arranged 
if  possible  in  chronological  order,  and  affording  a  compre- 
hensive view  of  the  rise  and  progress  of  an  exceedingly 
interesting  branch  of  art.  There  is  a  charm  and  a  fascina- 
tion about  these  little  treasures  which  cannot  readily  be 
equalled  by  anything  else  a  collector  may  fancy.  They 
can  be  found  wherever  he  may  go.  He  may  add  to  his 
collection  almost  every  month  of  his  life,  and  may  in  time 
obtain  quite  a  large  number  of  miniatures  which  will 
delight  him  every  time  he  examines  them,  and  from  which 
he  may  learn  many  a  secret  of  colouring  and  method  or 
technique.  Moreover,  if  the  idea  is  any  satisfaction  to 
him,  he  may  rest  assured  that  he  is  investing  his  money  in 
excellent  fashion,  because  selected  miniatures  are  likely 
not  merely  to  fetch  their  value  if  sold  again,  but 
generally  speaking  to  show  an  advance  upon  the  sum 
originally  given  for  them,  and  a  collection  carefully  and 
judiciously  formed  is  likely  to  be  a  wise  investment  if 
ever  it  is  to  come  into  the  market.  This  is  perhaps  the 
lowest  point  of  view,  but  is  none  the  less  one  that  has  to 
be  borne  in  mind.  It  may  safely  be  set  aside  by  the  col- 
lector from  general  consideration,  as  apart  from  it,  he  will 
find  great  joy  in  bringing  together  these  dainty  fragile 
objects,  in  looking  up  the  history  of  the  persons  whom 
they  represent,  and  of  the  painters  who  prepared  them, 
of  studying  the  different  methods  by  which  they  were 
executed,  and  then  of  acquiring  gradually  to  a  full  and 
definite  appreciation  of  their  fascination  and  beauty. 


CHAPTER  XX 

COLLECTIONS  AND  COLLECTORS 


ARISING  out  of  the  information  given  in  the  preced- 
ing chapter,  it  seems  desirable  to  add  some  notes 
with  regard  to  collections,  because  one  of  the  chief 
methods  by  which  those  who  are  interested  in  miniatures 
may  acquire  the  necessary  knowledge  concerning  them  is 
by  the  study  of  other  miniatures  in  various  collections, 
and  by  thus  gradually  training  the  eye  to  determine  the 
character  and  style  of  each  painter.  This,  in  England, 
is  not  so  easy  as  it  should  be.  We  have  no  national 
collection  of  miniatures  giving  a  comprehensive  chrono- 
logical view  of  the  rise  and  progress  of  the  art.  There 
should  be  such  a  collection,  undoubtedly,  but  at  present 
the  nearest  approach  to  it  is  to  be  found  in  the  Victoria 
and  Albert  Museum,  especially  in  connection  with  the 
Salting  bequest.  This  famous  bequest  contains  examples 
of  the  work  of  many  of  the  greatest  miniature  painters, 
and,  moreover,  examples  which  show  them  at  their  very 
best.  As  an  instance,  no  finer  representation  of  the  work 
of  Holbein  could  be  desired  than  the  portrait  of  Anne  of 
Cleves,  which  he  painted,  so  far  as  can  be  stated,  at  Duren, 
in  July,  1539,  for  Henry  VIII.  In  the  same  collection 
is  to  be  seen  a  delightful  full-length  portrait  by  Nicholas 
Hilliard,  and  portraits  by  the  same  artist,  both  of 
Hilliard  himself  and  of  his  father  and  of  other  persons. 
Moreover,  there  is  close  at  hand  the  portrait  of  the  great 
Flemish  illuminator,  Simon  Binninck,  painted  by  himself ; 

232 


COLLECTIONS  AND   COLLECTORS  235 

some  landscapes,  also  his  work ;  and  the  two  wonder- 
ful portraits  of  the  little  girls  which  are  attributed  to 
his  daughter,  Lavina  Teerlinck,  and  were  'painted  at  the 
English  Court.  Close  beside  these  portraits  may  be  found 
works  by  Isaac  and  Peter  Oliver,  by  John  Hoskins 
(notably  those  of  Lady  Catherine  Howard  and  the  Earl 
of  Dorset),  and  some  very  fine  ones  by  Samuel  Cooper, 
two  of  the  best  representing  Algernon  Percy,  Lord  High 
Admiral,  whom  Clarendon  described  as  "  the  proudest 
man  alive,"  and  the  Earl  of  Sandwich,  who  fought  at 
Naseby,  and  was  blown  up  in  his  ship  in  1672.  The  same 
collection  contains  five  miniatures  by  Flatman,  and 
representations  of  the  work  of  Dixon  and  of  Crosse  ;  while, 
in  another  case,  there  are  several  portraits  by  Cosway, 
one  or  two  of  them  being  important  ;  with  typical  works 
by  Smart,  some  by  Plimer,  and  examples  of  the  work 
of  Bogle,  Hone,  Nixon,  Humphry,  Jean  and  Engleheart. 
On  the  whole,  this  collection  offers  a  fairly  satisfactory 
view  of  miniature  painting,  supplemented  as  it  is  by 
miniatures  by  other  artists  in  another  part  of  the  museum, 
and  by  the  very  fine  French  works  in  the  Jones  collection, 
although  it  could  have  been  wished  that  circumstances- 
had  permitted  the  grouping  of  the  miniatures  in  proper 
chronological  fashion.  The  regulations  binding  these 
testamentary  bequests  prohibiting  such  a  scheme,  the 
student  must  make  the  best  of  the  arrangement  in  force,, 
journeying  to  different  parts  of  the  same  museum,  in  order 
to  acquire  knowledge  which  could  much  more  easily,  had 
it  been  possible,  have  been  gathered  up  in  one  room. 

The  National  Portrait  Gallery  contains  a  few  miniatures,, 
but  they  have  not  been  collected  because  of  the  artists 
who  painted,  but  exclusively  on  account  of  the  persons 
whom  they  represent. 

The  British  Museum  Print  Room  contains  fine  examples 
of  the  plumbago  portraits  which  are  alluded  to  in  a 
separate  chapter,  and  the  student  of  this  particular 


234  THE  MINIATURE  COLLECTOR 

class  of  portraiture  cannot  adequately  appreciate  his 
subject  without  proper  study  of  these  examples. 

The  Wallace  collection  at  Hertford  House  possesses 
a  large  number  of  miniatures,  mainly  French  portraits, 
but  including  representations,  amongst  others,  of  the 
work  of  painters  as  far  apart  as  Holbein  and  Cosway, 
From  the  point  of  view  of  the"  foreign  painters,  however, 
this  collection  is  highly  important,  and,  as  it  has  been 
skilfully  catalogued,  the  cases  will  be  found  worthy  of 
very  careful  study. 

In  the  Ashmolean  Museum  there  are  two  large  cases  of 
miniatures,  particularly  rich  in  examples  of  the  various 
workers  in  enamel,  but  also  containing  many  fine  specimens 
of  English  miniature  art.  There  are  a  few  in  the  National 
Gallery  in  Ireland,  some  in  the  Bowes  Museum  at  Barnard 
Castle,  and  a  small  but  interesting  collection  in  the 
Holburne-of-Menstrie  Museum  at  Bath ;  this  latter 
collection  including  half-a-dozen  particularly  fine  portraits 
and  some  interesting  examples  of  the  work  of  the  artists 
in  plumbago. 

Generally  speaking,  miniature  painting  is  not  strongly 
represented  in  the  provincial  galleries.  There  are  a  few 
examples  at  Birmingham,  and  almost  every  provincial 
gallery  contains  one  or  two  miniatures,  but  they  have  not 
been  selected  specially  to  represent  the  work  of  the  artists, 
but,  as  a  rule,  possess  other  claims  for  consideration. 
During  recent  years,  the  collector  has,  however,  had  the 
advantage  of  seeing  one  of  the  most  notable  collections 
of  miniatures  under  particularly  favourable  circumstances, 
inasmuch  as  the  Duke  of  Buccleuch  and  Queensberry  has 
lent  his  collection  to  the  Victoria  and  Albert  Museum, 
and  a  series  of  cases  contain  the  famous  miniatures, 
clearly  exposed  for  public  view.  Moreover,  the  opportunity 
was  taken  to  prepare  a  more  accurate  catalogue  of  this 
collection  than  has  hitherto  been  in  existence,  and  to  the 
•enterprise  of  the  editor  of  "  The  Studio  "  we  owe  the 


COLLECTIONS  AND  COLLECTORS          235 

fact  that  this  catalogue  (the  work  of  Mr.  Kennedy,  an 
official  at  the  South  Kensington  Museum)  was  produced 
in  illustrated  form,  and  made  available,  for  the  first  time,, 
for 'the  assistance  of  the  student.  The  collector  should 
most  certainly  obtain  this  catalogue,  which  was  issued 
by  "  The  Studio,"  both  in  cloth  and  in  paper,  in  1917. 

Another  owner,  Earl  Beauchamp,  with  similar  generosity, 
permitted  his  miniatures  also  to  be  exhibited  at  South 
Kensington,  and  the  public,  therefore,  had  the  opportunity 
of  viewing  and  of  studying  these  two  famous  collections, 
both  of  which  had  hitherto  been  closed  to  the  ordinary 
sightseer.  This  has  been  a  great  advantage  to  the  collector 
and  the  student. 

Occasionally,  an  opportunity  may  occur  for  the  inspection 
of  yet  other  collections.  The  King  owns  a  very  famous 
collection  of  miniatures,  which  is  at  Windsor  Castle.  It 
comprises  some  of  the  choicest  works  of  Holbein,  and  many 
of  the  finest  miniatures  which  Cos  way  ever  painted. 
It  is  not,  in  any  sense,  a  chronological  collection.  There 
are  many  omissions  in  it.  The  early  period  is  particularly 
well  represented,  and  some  of  the  best  artists  of  the 
eighteenth  century  display  in  this  collection  their  very 
finest  works  ;  but,  on  the  other  hand,  many  men  are 
not  represented  at  all,  and,  moreover,  a  considerable 
number  of  miniatures  at  one  time  at  Windsor  no 
longer  rest  in  the  castle,  but  have  been  scattered,  by 
previous  generations,  far  and  wide.  There  is  only  a  hand 
catalogue  in  existence,  and  this  has  been  privately  printed 
for  the  use  of  the  Royal  Family,  and  is  not  available  for 
the  use  of  the  collector. 

Another  important  collection  is  that  possessed  by  the 
Duke  of  Rutland,  at  Belvoir  Castle.  It  also  has  some 
notable  miniatures  in  it,  specially  the  two  portraits  of 
Sir  Walter  Raleigh  and  his  son  ;  and,  naturally,  it  includes 
portraits  of  many  members  of  the  Manners  family,  and  of 
persons  closely  connected  with  the  same  house.  There 


236  THE  MINIATURE  COLLECTOR 

is  a  catalogue  of  the  miniatures  in  existence,  but  it  also 
was  privately  printed  for  the  use  of  the  family. 

Yet  another  important  collection  is  that  belonging  to 
Lord  Hothfield,  and  again  there  is  a  privately  printed 
catalogue  in  existence,  but  occasionally  the  collector, 
properly  accredited,  may  be  afforded  the  opportunity 
of  examining  the  miniatures  in  this  famous  collection. 
It  has  one  distinctive  quality,  inasmuch  as  it  is  confined 
to  the  period  of  the  eighteenth  century  and  thereabouts. 
There  are  practically  no  representatives  of  Elizabethan 
or  Stuart  miniatures.  There  are  a  few  recent  ones, 
but,  on  the  whole,  it  is  representative  of  the  min- 
iature painters  who  exhibited  at  the  Royal  Academy 
and  other  kindred  exhibitions  in  the  eighteenth  century. 

There  are  some  fine  miniatures  at  Castle  Howard, 
belonging  to  Lord  Carlisle — these  also  have  been  catalogued 
for  the  use  of  the  family  ;  and  the  same  remark  applies 
to  the  miniatures  at  Goodwood,  belonging  to  the  Duke 
of  Richmond  and  Gordon  ;  to  those  at  Woburn,  belonging 
to  the  Duke  of  Bedford ;  to  the  collection  once  at  Devonshire 
House,  the  property  of  the  Duke  of  Devonshire  ;  and  to 
those  at  Burghley,  belonging  to  the  Marquess  of  Exeter.  At 
Ham  House  there  is  a  tiny  little  room  which  contains  a 
very  famous  collection  of  miniatures.  These  are  family 
portraits  of  the  utmost  importance,  none  of  which  have 
ever  been  exhibited  away  from  the  house  ;  and  most  of 
them  hang  still  in  the  little  room  and  on  the  actual  tapestry- 
covered  walls,  where  they  were  originally  placed  when 
painted,  in  Elizabethan  or  Stuart  times,  and  sent  home 
to  their  owners.  In  some  instances  they  still  hang  on  the 
little  hooks  that  were  sewn  into  the  tapestry  by  the 
•chatelaine  of  the  day,  when  she  received  the  precious 
portrait  and  hung  it  in  the  place  that  had  been  selected 
for  it.  There  is  an  account  of  the  miniatures  in  an  important 
book1  that  was  published  on  Ham  House,  written  by  Mrs. 
1  In  this  the  present  writer  had  the  privilege  of  assisting. 


COLLECTIONS  AND  COLLECTORS          237 

Roundell,  and  there  is  no  collection  of  miniatures  so 
important  in  its  own  particular  way  as  is  this  little  one. 
Ham  House  is  not,  however,  shown  to  the  public,  and  the 
room  in  which  the  miniatures  are  contained  is  so  small 
that  it  is  almost  hopeless  for  a  collector  to  expect  any 
opportunity  of  entering  it. 

Mr.  Ward  Usher  has  some  fine  miniatures  in  his 
possession  in  his  house  at  Lincoln.  He  has  been  one  of 
those  wise  collectors  who,  for  years  past,  has  sifted  his 
collection  with  the  greatest  possible  care,  rejecting  anything 
that  was  unsatisfactory  and  retaining  only  the  very  best. 
He  has  published  a  sumptuous  book,1  and  many  of  the 
miniatures  are  illustrated  in  colour,  the  reproductions 
having  been  made  from  his  own  exquisite  copies  in 
water-colour  of  the  portraits  in  his  possession. 

The  Baroness  Burdett-Coutts  owned  a  considerable 
number  of  fine  family  miniatures,  and  added  to  them 
many  remarkable  works  that  she  purchased  on  the  Straw- 
berry Hill  sale.  All  these  are  still  in  the  possession  of 
Mr.  Burdett-Coutts,  who  survives  her.  The  remaining 
portion  of  the  Strawberry  Hill  collection  was  scattered 
in  various  other  collections,  but  an  important  moiety, 
mainly  portraits  of  the  Digby  family,  came  into  the 
possession  of  Mr.  Wingfield  Digby,  of  Sherborne  Castle, 
and  still  belongs  to  him.  It  includes  some  very  famous 
miniatures,  to  which  Horace  Walpole  attached  the  utmost 
importance. 

Earl  Spencer  has  some  very  fine  miniatures  at  Althorp 
Park ;  there  are  some  notable  ones  in  the  possession 
of  Lord  Derby ;  some  wonderful  examples,  especially 
in  enamel,  belong  to  Lady  Dartrey  and  many  fine  French 
portraits  are  at  Mentmore,  belonging  to  the  Earl  of 
Roseberry.  Others  are  at  Waddesdon,  in  the  possession 

1  A  volume  dealing  with  his  precious  possessions  called  The 
Usher  Collection.  The  present  writer  was  responsible  for  the  pre- 
face to  it. 


238  THE  MINIATURE  COLLECTOR 

of  Miss  Alice  de  Rothschild ;  and  some  exceedingly 
important  early  miniatures  are  at  Minley  Manor,  the 
property  of  Mr.  Laurence  Currie. 

I  must  not  forget  to  mention  the  collection  at  Ecton, 
belonging  to  Mrs.  Sotheby,  because,  in  certain  respects, 
it  is  one  of  the  greatest  treasures  in  England.  It  comprises 
examples  by  the  earliest  masters,  including  one  by  Holbein, 
and  others  by  Isaac  and  Peter  Oliver,  Hoskins,  Cooper 
and  the  like.  It  is  mentioned  by  Walpole,  in  his  ' '  Anecdotes 
of  Painting,"  as  then  in  the  possession  of  an  ancestor 
of  the  present  owner.  It  was  collected  gradually,  with 
great  skill  and  judgment,  at  a  time  when  there  were  very 
few  collectors  of  miniatures  in  existence,  and  contains 
some  of  the  finest  miniatures  there  are  in  the  country. 
It  is  impossible  for  the  ordinary  collector  to  see  it,  but  all 
the  portraits  in  it  have  been  photographed,  and,  at  some 
time  or  other,  there  will  probably  be  produced  a  book 
dealing  with  the  collection  in  its  entirety. 

Another  choice  little  collection  in  England  is  that  at 
Nuneham,  belonging  to  Viscount  Harcourt.  Some  of 
the  miniatures  in  both  these  last  mentioned  collections 
have  been,  by  kind  permission,  included  as  illustrations 
in  this  book. 

Most  notable  of  all,  perhaps,  is  the  collection  at  Welbeck 
Abbey,  belonging  to  the  Duke  of  Portland ;  and  this 
has  been  the  subject  of  a  specially  good  catalogue,  probably 
the  best  that  has  ever  been  compiled  of  any  collection 
of  miniatures ;  the  work  of  the  librarian,  Mr.  Goulding, 
who  has  been  engaged  in  the  work  for  many  years.  The 
catalogue  has  been  published  in  two  forms  :  one  for  the 
private  use  of  the  Duke  of  Portland  and  his  friends,  which 
is  inaccessible  to  the  collector  ;  the  other  in  Vol.  IV.  of 
the  Walpole  Society's  "  Proceedings,"  a  work  which  is 
only  issued  to  subscribers  to  the  Walpole  Society,  but 
which  may,  occasionally,  be  obtained  second-hand.  The 
collector  should  make  every  possible  effort  to  obtain  this 


COLLECTIONS  AND   COLLECTORS          239 

catalogue,  because  the  information  it  gives,  and  the 
illustrations  of  the  portraits,  are  almost  essential  to  a 
proper  appreciation  of  his  subject. 

There  are  a  few  other  collections  in  existence,  notably 
those  belonging  to  Sir  Edward  Marshall-Hall  and  to  Mr. 
Cunliffe  ;  but  there  are  many  other  persons  who  own 
fine  miniatures,  and  the  collector  will  be  well  advised  not 
to  neglect  any  opportunity  of  increasing  his  knowledge  by 
the  inspection  of  miniatures  belonging  to  other  collectors. 
As  a  rule,  there  is  no  particular  difficulty  to  a  really 
serious,  properly-accredited  collector,  in  obtaining  a  sight  of 
some  of  the  treasures  gathered  up  by  others.  Most  collectors 
are  ready  not  merely  to  show  their  treasures,  but  to 
discuss  them  with  those  who  are  interested  in  a  similar 
pursuit. 

Captain  H.  W.  Murray,  of  Winchester,  has  some 
exceedingly  lovely  specimens,  including  one  of  the  finest 
works  by  Cosway  I  have  ever  seen. 

On  the  Continent  the  collector  will  find  a  considerable 
number  of  beautiful  examples  of  foreign  work  in  the 
Louvre,  but  there  is  no  collection  equal  in  value  to  that 
possessed  by  the  Queen  of  Holland.  It  is  very  seldom 
that  these  miniatures  can  be  seen,  but  Mr.  Lugts'  book  on 
the  collection  is  very  well  illustrated,  and  is  referred  to  in 
the  bibliography.  There  are  many  fine  miniatures  in  the 
Rijks  Museum  in  Amsterdam,  and  they  are  well  worth 
careful  scrutiny.  The  Louvre  collection  will  be  found 
particularly  important  with  regard  to  enamels  by  Petitot. 

In  Denmark  there  are  choice  collections  of  miniatures 
in  the  National  Museum,  the  Frederiksbourg  Palace, 
the  Rosenborg  Palace,  and  in  the  private  collections  of 
various  members  of  the  Royal  Family. 

In  Sweden,  they  can  be  studied  in  the  National  Museum, 
and  the  Historical  Museum  at  Stockholm,  and  in  the 
National  Museum  at  Gothenburg.  There  used  to  be  a  fine 
collection  in  Finland,  belonging  to  Monsieur  Sinebrychoff, 


240  THE  MINIATURE   COLLECTOR 

but  whether  these  have  escaped  the  general  destruction 
in  that  unfortunate  region,  I  am  not  able  to  say.  There 
were  also  some  exceedingly  fine  miniatures  in  Russia,  not 
only  in  the  Hermitage  Gallery  at  Petrograd,  but  in  many 
of  the  private  collections.  There  is  no  information, 
however,  available  concerning  these,  and  I  fear  that  many 
of  the  collections  in  that  country  that  I  have  studied  in 
past  years  have  now  disappeared  altogether.  There  were 
several  collectors  of  miniatures  in  Berlin  before  the  War, 
but  I  have  no  information  now  as  to  what  has  become  of 
their  treasures.  The  same  thing  applies  to  Vienna.  One 
of  the  museums  there  contains  a  wonderful  series  of  the 
works  of  Fiiger,  and  there  were  some  very  important 
miniatures  by  him — some  of  the  best  he  ever  did — in  the 
private  collection  of  Herr  Doktor  Figdor,  while  there 
were  other  notable  collectors  in  the  city,  but  what  has 
happened  to  them  or  to  their  collections,  I  am  unable 
to  say. 

In  Italy,  both  in  the  Uffizi  and  in  the  Pitti  Palaces,  in 
Florence,  there  are  collections  of  miniatures.  The  ascriptions 
on  some  of  them  are  a  little  astonishing.  Miniatures  are 
.given  to  Titian  and  Correggio,  and  to  Tintoretto  and 
Bronzino,  upon  what  appears  to  me  to  be  very  slight 
evidence  indeed,  as  we  have'  very  little  knowledge,  of 
a  definite  character,  whether  these  great  masters  ever 
painted  miniatures.  Certainly,  some  of  the  miniatures 
in  Italy  bear  a  resemblance  to  the  larger  works  which 
were  undoubtedly  by  the  same  artists,  but  whether  the 
miniatures  are  small  reproductions  by  their  pupils,  or 
later  copies,  is  a  question  that  has  not  yet  been  settled. 
Many  of  these  miniatures  are  painted  in  oil,  and  of  oil 
miniatures  we  know  very  little.  There  must  have  been 
quite  an  important  school  of  miniature  painters  in  oil  in 
Holland,  as  well  as  in  Italy,  and  many  of  the  works  were 
executed  on  small  pieces  of  copper  and  silver,  but  of  the 
painters  of  these  portraits,  or  of  their  works,  we  have 


COLLECTIONS  AND   COLLECTORS  241 

very  scanty  information,  and  there  is  still  an  opportunity 
for  the  preparation  of  a  scholarly  book  dealing  with  the 
miniature  painters  in  oil. 

There  are  a  few  notable  collectors  in  Rome  and  in  other 
parts  of  Italy.  In  Roumania,  there  are  a  few  miniatures 
to  be  found  both  in  Bucharest  and  in  Sinaia,  or  there 
certainly  were  some  before  the  War,  and  it  is  believed  that 
the  collections  are  more  or  less  intact  at  the  present  time. 

In  Spain,  there  are  some  fine  miniatures  to  be  seen  in 
the  Royal  Palace,  and  there  are  a  few  in  the  Prado  Museum. 
There  are  also  important  portraits  in  the  possession  of 
many  of  the  Spanish  grandees,  and  there  are  a  few  other 
collectors  in  that  country,  and  one  certainly  in  Portugal. 

America  possesses,  in  the  famous  collection  of  Mr. 
Pierpont  Morgan,  the  largest  and  perhaps  the  most 
comprehensive  of  all  the  collections,  because  it  includes 
examples  of  miniatures  painted  in  England  from  the  time 
of  Holbein  down  to  that  of  Rossetti,  and  in  France  from 
the  work  of  Janet,  who  painted  for  Francis  I.,  down  to 
the  painters  of  the  nineteenth  century,  with  especial 
reference  to  Augustin,  who  was  one  of  the  very  last  great 
men  to  paint  miniatures  in  France.  The  collection  is  a 
very  large  one,  and  includes  many  notable  works,  both 
in  the  English  and  the  French  schools.  One  of  the  finest 
works  Holbein  ever  painted,  the  portrait  of  Mrs.  Pemberton, 
is  in  this  collection,  and  certainly  the  most  notable  series 
of  the  works  of  Plimer  that  has  ever  been  brought  together. 
Furthermore,  there  are  important  representations  of  the 
work  of  Hilliard,  Oliver  and  Hoskins ;  some  splendid 
examples  by  Cooper ;  and  specimens  by  those  who  succeeded 
him,  such  as  Dixon,  Crosse,  Lens  and  Spencer.  The 
eighteenth-century  painters  are  also  well  represented, 
and  the  collection  is  brought  down  to  practically  recent 
days.  In  foreign  miniatures,  it  is  equally  complete, 
including  some  fine  enamels  by  Petitot ;  some  exquisite 
examples  of  some  of  the  rarer  workers  in  enamel ;  splendid 


242  THE  MINIATURE  COLLECTOR 

works  by  Hall,  the  Swede ;  by  Dumont,  Isabey,  Guerin 
and  other  great  Frenchmen ;  and  a  collection  wholly 
unrivalled  of  the  works  of  Augustin,  including  many 
unfinished  miniatures,  and  an  amazing  series  of  his  drawings 
and  sketches.  This  famous  collection  has  been  exhaustively 
catalogued  by  me,  and  the  catalogue,  in  four  folio  volumes,1 
can  be  studied  at  the  various  museums.  Mr.  Morgan's 
is  not  the  only  important  collection  in  America,  although 
it  is  far  and  away  the  chief ;  but  there  is  a  collection  at 
Pittsburg  ;  a  very  fine  one  in  New  York  belonging  to  Mr. 
George  Gould ;  there  are  some  few  miniatures  at  Boston  ; 
a  collector  lives  at  Cleveland,  and  another  at  Santa  Barbara  ; 
and  there  are  several  well-to-do  men  in  the  States  who 
are  just  beginning  to  understand  the  charm  and  fascination 
of  miniatures. 

1  One  edition  contains  hand-coloured  illustrations,   which  will 
be  found  of  service  to  the  collector. 


CHAPTER  XXI 

FORGERIES 


THE  student  of  English  miniatures,  in  the  future,  will 
have  a  more  difficult  task  than  I  have  had  in 
the  past,  in  classifying  them,  and  in  attributing 
them  to  their  rightful  artists.  The  demand  for  old  portrait 
miniatures  has,  of  course,  produced  the  usual  result,  and 
there  have  been  many  forgeries.  In  some  instances,  these 
have  been  intentional :  for  example,  a  dealer  has  purchased 
a  fine  English  miniature,  and  the  person  who  has  sold 
it,  having  made  it  one  of  the  conditions  of  sale  that  a 
reproduction  should  be  supplied  in  lieu  of  the  original, 
and  even,  in  some  cases,  framed  in  similar  fashion  to  that 
in  which  the  old  portrait  was  framed ;  the  condition  has 
been  carried  out.  For  this  purpose,  leading  dealers  have 
employed  skilful  miniature  painters  to  make  reproductions, 
as  accurately  as  possible,  of  the  fine  miniatures  they  have 
purchased ;  and  the  modern  painter,  having  had  his 
instructions  to  copy  the  old  miniature  as  well  as  he  could, 
has  done  his  utmost,  and  sometimes  has  produced  a  work 
calculated  to  deceive  "  even  the  elect."  Sometimes  the 
reason  for  the  forgery  has  not  been  quite  as  satisfactory. 
There  was  one  dealer,  well  known  in  London,  who 
claimed  to  be  a  collector  of  miniatures  by  Cosway,  and  it 
used  to  be  wickedly  stated  that  the  one  thing  his  collection 
did  not  contain  was  a  genuine  Cosway  miniature.  It  was 
quite  well  known  that  in  a  small  room,  at  the  back  of  his 
shop,  sat  a  skilful  miniature  painter,  whose  name  I  also 
happen  to  know,  carefully  copying  the  miniatures  which 

243 


244  THE  MINIATURE  COLLECTOR 

the  dealer  purchased,  so  that  in  almost  every  case  he  was 
able  to  sell  the  same  miniature  two  or  three  times  over — 
that  is  to  say,  one  person  got  the  original,  and  others, 
who  paid  an  equally  high  price,  got  the  copies  that 
had  been  made  from  it. 

Of  these  facts  there  is  no  doubt,  and  the  result  has  been 
disastrous,  because,  as  I  have  already  stated,  some  of  the 
copies  are  well  painted  and  excellently  calculated  to  deceive. 
That  being  so,  it  is  important  to  know  how  the  forgeries 
can  be  detected,  and  I  have  given  much  time  to  the 
investigation  of  this  problem.  Fortunately,  one  is  able 
to  determine  quite  definitely  what  colours  were  in  use 
at  the  time  the  original  miniatures  were  painted,  and  what 
have  been  discovered  and  used  since  the  eighteenth  century. 
It  is  equally  fortunate  that  some  of  the  modern  colours  can 
be  determined  at  a  glance,  provided  that  the  investigator 
has  carefully  studied  them  beforehand,  and  is  in  possession 
of  the  necessary  knowledge  ;  but,  even  if  the  eye  failed 
and  the  knowledge  is  incomplete,  it  is  possible,  by  the  aid 
of  chemistry,  to  determine,  in  many  cases,  whether  the 
colour  on  the  miniature  be  the  right  pigment  or  not.  It 
is  not  impossible,  in  very  doubtful  cases,  to  remove  a  tiny 
scrap  of  the  colouring  from  the  edge  of  the  miniature,  to 
analyse  it  in  a  test  tube,  and  then  determine  what  the 
pigment  may  be.  This  operation  requires,  of  course,  the 
greatest  possible  care  in  a  miniature.  It  is  not  so  difficult 
to  accomplish  in  a  pastel  portrait,  and  pastels  have  recently 
been  forged  quite  as  skilfully  as  miniatures.  As  a  rule, 
close  up  to  the  edge  of  a  pastel  picture,  one  may  remove 
(dexterously,  of  course)  quite  a  substantial  portion  of  the 
dry  colour — very  much  more  than  one  would  dare  to  take 
in  the  case  of  a  miniature — and  then  no  deep  knowledge 
of  chemistry  is  needed  to  determine  the  nature  of  the 
pigment.  Experience,  however,  is  of  the  greatest  possible 
importance  in  this  determination,  because  it  is  not  always 
possible  to  remove  even  the  slightest  portion  of  the 


FORGERIES  245 

pigment,  and  then,  in  these  cases,  no  reliance  can  be  laid 
on  laws  and  regulations.  Facility  can  only  be  acquired 
by  dint  of  careful  study  and  examination  of  miniatures. 

I  have  looked  at  miniatures  all  over  Europe,  and  have 
studied  them  as  carefully  as  I  was  capable  of  doing.  I 
have  also  experimented  with  almost  all  the  colours  that 
have  been  or  are  now  used,  with  the  result  that  I  can 
claim  to  be  able  to  recognise  many  of  the  colours,  used 
by  the  modern  forger,  at  a  glance.  But  this  experience  I 
can  neither  convey  nor  transmit,  and  it  can  only  be  acquired 
by  those  who  follow  me  in  the  same  arduous  paths.  I 
can,  however,  point  out  some  general  principles  relative 
to  the  use  of  pigments. 

The  chief  colour  in  which  the  forger  makes  a  mistake 
is  blue.  The  old  painters  used  indigo  ;  ultramarine  ;  smalt, 
which  has  been  in  use  since  1590  ;  and  Prussian  blue,  or  Ant- 
werp blue  which  came  into  use  about  1720,  and  which 
always  has  a  slightly  greenish  tinge.  The  modern  painter 
uses  cobalt  blue,  about  which  we  knew  nothing  till  1804  ; 
ceruleum  (or  cerulean),  which  was  introduced  in  1861 ;  blue 
verditer,  which  came  in  later  still ;  or  artificial  ultramarine, 
which  was  introduced  in  1844 ;  and,  therefore,  if  we  can 
once  determine  which  blue  is  used  in  a  miniature,  wre  can 
be  quite  sure  as  to  its  authenticity  or  otherwise.  Let  it 
be  borne  in  mind  that  there  was  no  Prussian  blue  before 
1704,  or  in  general  use  before  1720  ;  therefore  one  must 
not  look  for  that  slightly  greenish  colour  on  the  Elizabethan 
or  Stuart  miniatures.  There,  the  blue  would  be  indigo, 
ultramarine,  or  smalt.  Smalt  becomes  pale  and  grey  ; 
it  contains  cobalt  and  a  silicate  of  potassium,  and  is  very 
apt  to  whiten  in  tone.  Real  ultramarine  has  very  little 
violet  in  it,  and  stands  both  the  light  and  exposure  to 
sulphur  ;  indigo  oxidises  and  browns  slowly,  eventually 
vanishing  if  exposed  to  strong  or  continual  light,  leaving 
behind  it  perhaps  a  ghostlike  effect  of  blue,  and  sometimes 
nothing  at  all,  in  places  where  one  could  have  felt  quite 


246  THE   MINIATURE  COLLECTOR 

sure  blue  originally  was.  Cobalt  is  distinctly  purplish  in 
its  tone  by  gas  or  by  candle-light  ;  ceruleum,  which  is  a 
cobalt  and  tin  product,  is  again  greenish  and  not  purple 
by  gas  or  candle-light.  Artificial  ultramarine,  which  did 
not  come  in  till  about  1830,  is  also  somewhat  of  a  purple 
or  green  tone,  instead  of  being  the  clear,  definite  blue 
which  the  real  lapis-lazuli  ultramarine  was.  Cos  way  used 
a  very  fine,  pure  ultramarine.  I  have  had  a  portion  of  his 
original  colour  and  have  analysed  it.  It  is  almost  impossible 
to  get  such  a  blue  nowadays,  and  if  it  could  be  obtained, 
its  cost  would  be  prohibitive.  In  consequence,  the  modern 
forger  invariably  uses  ceruleum  or  the  artificial  ultra- 
marine for  the  bright  blue  patches  which  occur  on  the 
background  of  Cosway's  best  miniatures  ;  and,  if  the  blue 
can  be  identified,  the  expert's  task  is  ended.  There  is  no 
need  to  examine  the  other  colours,  because  if  he  is  assured 
by  his  own  experience  and  eye,  or  better  still  by  chemical 
analysis,  that  these  modern  blues  have  been  used,  he  may 
be  quite  satisfied  that  the  miniature  in  question  is  a 
modern  production. 

There  are,  again,  cases  in  which  an  eighteenth-century 
miniature  painter,  or  Elizabethan  or  Stuart  painter,  had 
used  indigo,  and  the  colour  having  browned  and  lost  its 
brilliance,  the  forger  has  been  called  in  to  touch  up  and 
repair  it.  He  is  not  at  all  likely  to  have  used  indigo  in 
carrying  out  his  work.  He  may  have  used  smalt.  He  is 
quite  likely  to  have  used  a  very  untrustworthy  colour — 
verditer — in  which  the  blue  tone  will  rapidly  become 
green  ;  but  whatever  he  has  done,  if  he  has  supplied  a  new 
blue  in  place  of  the  indigo,  he  has  spoiled  the  miniature 
as  a  work  of  art,  and  as  an  object  of  historic  value,  and, 
therefore,  his  restoration  may  be  dismissed  quite  as 
definitely  as  if  it  were  fully  a  forgery. 

The  next  most  important  colour,  both  in  the  miniature 
and  the  pastel  picture,  is  the  yellow,  and  here  the  modern 
pastel  painter  invariably  goes  wrong.  It  is  not  so  very 


FORGERIES  247 


long  ago  that  I  was  called  in  to  examine  a  large  pastel 
portrait,  the  subject  of  an  important  dispute  in  the  Law 
Courts  before  the  Lord  Chief  Justice,  and  I  recognised, 
almost  immediately,  that  the  yellow  in  the  picture,  of 
which  there  happened  to  be  a  good  deal,  was  that  known 
as  Indian  yellow,  a  strange  colour  which  is  prepared  as  a 
salt  of  magnesia  from  the  urine  of  cows  in  India  that  have 
been  fed  on  mango  leaves,  an  important  and  lovely  colour, — • 
but  one  we  knew  nothing  about  till  the  time  of  Victoria, 
whereas  the  pastel  picture  in  question  was  signed  and  dated 
1780.  Fortunately,  in  this  instance,  it  was  quite  easy  to 
obtain  a  portion  of  the  dry  colour,  to  analyse  it,  and  ascer- 
tain its  nature,  with  the  result  that  there  was  no  more  need 
for  further  evidence,  and  the  picture  was  at  once  accepted 
as  a  forgery. 

The  old  painters  used  the  ochres,  or  gamboge,  or  the 
lead  colours  which  we  know  as  Naples  yellow  and  Chrome 
yellow,  the  former  comparatively  seldom,  although,  perhaps, 
it  is  one  of  the  oldest  yellow  pigments  known.  Both  Naples 
yellow  and  Chrome  yellow  are  salts  of  lead,  Naples  yellow 
being  an  antimoniate,  and  they  both  of  them  blacken 
quickly.  Orpiment  is  also  used,  and  that,  which  is  a 
sulphide  of  arsenic,  fades  to  a  peculiar  primrose  tint.  The 
ochres  and  yellow  lake,  which  is  a  bark  pigment,  are 
permanent.  The  gamboge  bleaches  by  light  and  darkens 
by  the  influence  of  ammoniacal  fumes.  It  also  has  a 
peculiar  gleaming  effect  in  lines,  which  sometimes  enables 
one  to  recognise  its  use. 

The  modern  forger  does  not  dream  of  using  gamboge  ; 
he  knows  well  how  speedily  it  fades.  He  does  not  care  to 
use  the  ochres,  because  the  colour  is  not  sufficiently 
brilliant  or  transparent  for  his  purpose,  but  he  prefers 
to  use  a  cadmium  yellow,  which  was  not  introduced  until 
1817,  or  that  beautiful  transparent  cobalt  and  potas- 
sium salt  known  as  aureolin,  which  came  into 
use  in  1862,  even  if  he  does  not  condescend  to  use 


248  THE  MINIATURE  COLLECTOR 

vanadium  yellow,  which  is  an  absolutely  modern  pig- 
ment, one  of  the  products  of  tar.  Cadmium,  if  it 
is  used,  becomes  greyish  and  faded  in  colour,  and,  if 
adulterated  with  Indian  yellow,  slightly  brown.  The 
lead  colours  are  affected  by  the  use  of  ammonia,  but  the 
eye  is  the  best  guide  for  detecting  the  modern  yellows,  and 
the  presence  of  cadmium,  of  aureolin,  Indian  yellow  or 
vanadium  yellow  is  quite  sufficient,  of  course,  in  many 
cases  to  enable  the  expert  to  dismiss  the  miniature  as 
unworthy  of  further  investigation. 

In  the  case  of  greens,  the  question  is  not  quite  so  easy. 
The  modern  miniature  painter  is  very  fond  of  a  chromium 
salt  called  viridian,  or  an  arsenic  salt  known  as  emerald. 
One  was  introduced  in  1838  ;  the  other  in  1814 ;  and, 
therefore,  neither  of  them  is  to  be  found  on  the  eighteenth- 
century  pictures.  The  arsenite  of  copper,  known  as 
Scheele's  green,  came  into  use  about  1780,  and,  therefore, 
it  is  possible  to  find  that  colour  on  eighteenth-century 
pictures,  but  it  was  very  little  used.  As  a  rule,  the  greens 
used  by  the  old  painters  were  verdigris,  an  acetate  of  cop- 
per, a  quite  unmistakable  colour  ;  malachite,  an  equally 
unmistakable  green  ;  or  a  green  earth.  But  I  have  not 
found  the  greens  as  easy  to  determine  as  some  other  colours, 
and  great  care  must  be  taken  not  to  confuse  them  with 
the  blues,  which  have  become  greenish  in  tone  with  time, 
and  which  may,  therefore,  lead  the  investigator  off  the 
right  lines. 

The  reds  used  were  red  lead,  ochres,  cinnabar,  fine 
vermilion,  cochineal  (which  came  into  use  about  1550), 
and  the  vegetable  lakes,  or  lacs.  There  have  not  been 
many  modern  reds  substituted  for  these,  but  it  should 
be  noted  that  the  old  vermilion  was  very  superior  in 
quality  and  in  brilliance  to  the  more  modern  article,  and 
there  is  a  certain  sharpness  about  old  vermilion  which, 
once  recognised,  can  never  be  forgotten. 

As  regards  white,  that  used  was,  of  course,  white  lead, 


FORGERIES  249 

flake  white,  which  becomes  yellowish,  greyish,  or  brownish. 
Zinc  white  is  an  unchanging  pigment,  and  barytes  is  also 
a  permanent  colour,  but  these  were  not  in  use  in  the 
eighteenth  century,  and  there  was  no  zinc  white  till  about 
1790,  while  it  was  really  not  used  as  an  ordinary  pigment 
until  about  1840 ;  therefore,  if  the  white  is  pure,  clear 
and  brilliant,  there  is  every  probability  that  the  portrait 
is  a  modern  production. 

In  blacks,  the  old  masters  used  lamp  black,  which  is  an 
exceedingly  opaque  colour,  bone  black  or  ivory  black; 
Indian  ink,  which  is  really  a  form  of  lamp  black,  and  the 
oldest  black  of  all ;  and  sepia,  or  what  we  call  graphite,  or 
black  lead.  It  is  important,  in  examining  blacks,  to 
notice  where  the  black  touches  a  brilliant  colour.  The 
charcoal  blacks  decolourise  the  edges  of  other  colours 
where  they  impinge  upon  them  ;  lamp  black  does  not. 
The  colour  of  Indian  ink,  once  known  to  the  eye,  can 
always  be  verified  ;  the  brownish  tinge  of  sepia  is  also 
unmistakable ;  while  the  peculiar  metallic  gleam  of 
graphite  can  seldom  be  missed.  Indigo  black,  which  has 
a  curious  bluish  tint,  was  not  used,  and  if  that  is  to  be  seen, 
the  picture  may  be  condemned. 

I  happen  to  know  exactly  what  colours  were  used  by 
Plimer  and  by  George  Engleheart,  as  their  colour  boxes 
have  been  preserved  by  their  descendants.  Certain  of 
their  colours  were  presented  to  me  when  I  was  preparing 
their  biographies,  and  I  acquired  others  from  another 
source!  I  was  also  fortunate  enough  to  obtain  some  of 
Cosway's  pigments  in  Italy  from  the  place  where  his 
widow  died,  and  all  these  I  subjected  to  very  careful 
examination  and  then  presented  them,  with  some  of 
Cosway's  ivories,  paper  and  brushes,  and  some  relics  of 
other  artists,  to  the  Royal  Academy,  where,  in  the  Library, 
they  find  a  permanent  resting-place. 

Plimer  obtained  his  colours  from  Robertson  and  Miller, 
of  31,  Long  Acre,  or  from  The  Art  Colour  Manufacturing  Co., 


250  THE   MINIATURE  COLLECTOR 

of  27,  Hatton  Wall ;  purchasing  a  few  of  them  from 
Newman,  of  Soho  Square. 

Both  Robertson's  and  Newman's  are  still  in  existence, 
and  oddly  enough,  the  latter  house,  one  of  very  long 
standing  and  high  repute,  was  founded  by  a  man  named 
Robertson,  perhaps  a  connection  of  the  founder  of  the  first  - 
named  important  colour-maker. 

Plimer's  colours  were  flake  white,  lamp  black,  Indian 
ink,  Vandyck  brown,  burnt  sienna,  bistre,  burnt  carmine, 
a  fugitive  colour  made  from  the  carmine  in  Cochineal ; 
three  other  Cochineal  colours,  crimson  lake,  scarlet  lake 
and  pure  carmine ;  vermilion  (mercuric  sulphide)  and 
Venetian  red,  with  a  third  red  which  appears  to  be 
compounded  of  stannic  oxide,  chalk,  and  a  little  chromate 
of  potassium.  This  latter  pigment  was  a  permanent  one, 
but  the  cochineal  colours  account  for  the  strange  brownish 
hue  which  has  come  over  all  the  carnations  in  Plimer's 
miniatures  when  they  have  not  actually — as  has  happened 
in  many  cases — entirely  flown  away. 

In  blues,  Plimer  used  ultramarine,  smalt  ;  a  potash 
blue,  known  as  Turnbull's  blue,  a  colour  which  has  a 
tendency  to  fade  or  become  greenish  ;  and  chessylite,  or 
blue  verditer,  in  its  native  state,  not  the  artificial  prepara- 
tion given  that  name.  Lumps  of  this  material  were  found 
in  his  colour-box. 

In  greens,  he  used  the  newly-discovered  arsenite  of 
copper,  known  as  Scheele's  green.  It  had  only  just  come 
into  use  (1778),  and  by  reason  of  its  lovely  colour  was 
very  popular,  but  it  was  a  most  unsatisfactory  colour  in 
every  way.  It  was  a  deadly  poison  ;  in  water-colour  it 
quickly  oxidised  ;  and  it  was  blackened  by  all  the  cadmium 
yellows,  as  the  artists  very  quickly  began  to  find  out. 
He  also  used  malachite  green,  which  has  just  the  same 
fault  when  cadmium  comes  into  contact  with  it,  and  which, 
although  fine  in  hue,  is  not  a  safe  or  reliable  pigment  ; 
and  he  used  the  native  green  oxide  of  chromium,  an 


FORGERIES  251 

expensive  and  not  very  satisfactory  colour.  At  the  very 
end  of  his  life  he  seems  to  have  used  aureolin,  which  was 
just  coming  into  occasional  use  as  a  curiosity,  but  was  not 
a  pigment  in  general  use. 

Plimer's  ultramarine  was  superb  in  quality.  I  have  never 
seen  finer  or  more  costly  than  what  I  found  in  his  colour-box. 
His  colours  were  mostly  put  up  in  tiny,  thick,  squat 
bottles  ;  he  ground  almost  all  his  own  pigments  upon  a 
block  of  Mexican  onyx,  mixed  them  in  an  agate  bowl, 
and  spread  them  upon  palettes  of  Mother-o'- Pearl  or 
ivory.  He  was  a  luxurious  person ! 

Engleheart,  on  the  other  hand,  kept  all  his  colours  in 
small,  specially-made,  round,  ivory  boxes  with  screw  lids  ; 
used  only  ivory  palettes,  ivory  mixing-bowls,  small  ivory 
basins  in  sets,  to  fasten  on  to  his  palette  ;  and  had  ivory 
rests  on  which  to  place  his  brushes. 

He  obtained  his  vermilion,  Indian  ink,  flake  white  and 
gamboge  direct  from  China,  and  his  paper  packets  of  these 
pigments  bore  labels  to  that  effect,  a  Mr.  Taylor  obtaining 
them  for  him.  His  vermilion  was  of  the  very  finest 
possible,  and  must  have  been  in  his  day  a  most  costly 
pigment. 

He  also  used  a  very  fine  ultramarine,  smalt,  lamp 
black,  blue  black,  indigo,  Prussian  blue,  sepia,  iron  black 
(prepared  from  rust),  Indian  red,  Naples  yellow,  chessylite, 
malachite,  Scheele's  green  occasionally,  and,  of  course, 
the  cochineal  and  madder  colours,  the  siennas  and  the 
ochres.  His  carmines  have  generally  fled,  and  his  lakes 
have  in  many  cases  revealed  the  under-painting  of  green  ; 
while  his  yellows,  when  they  were  gamboge,  have  usually 
vanished  more  or  less  completely.  Where  he  used 
verdigris  or  Scheele's  green,  the  result  has  been  as  un- 
satisfactory, but  his  greens,  obtained  from  green  earth 
and  malachite,  have  stood  well. 

It  is  interesting  to  notice  that  in  the  treatise  on  modern 
miniature  painting,  written  by  Mr.  Alyn  Williams,  the 


252  THE  MINIATURE  COLLECTOR 

President  of  the  Royal  Society  of  Miniature  Painters,  the 
colours  especially  recommended  for  use  are  viridian, 
ceruleum,  cobalt,  orange,  cadmium,  aureolin,  rose  madder, 
and  Chinese  or  zinc  white,  not  one  of  which,  with  the 
possible  very  occasional  use  of  a  form  of  Chinese  white, 
were  in  use  by  the  painters  of  the  eighteenth  century, 
and  he  expressly  mentions  the  use  of  peroxide  of  hydrogen 
for  bleaching  ivories.  This  is,  of  course,  quite  a  modern 
procedure,  and  ivories  bleached  by  peroxide  can  be  easily 
detected  by  any  chemist  who  has  a  proper  knowledge  of 
his  profession. 

It  must  not,  however,  be  forgotten  that  it  is  far  easier 
to  detect  what  pigment  has  been  used  in  pastel-work  than 
in  water-colour.  In  the  former  the  colours  are  pure, 
simple,  and  well-defined  ;  in  the  latter  there  are  admixtures 
which  complicate  the  problem  ;  but  with  care  and  precision, 
many  of  the  wrong  pigments  can  be  detected,  however 
tiny  is  the  portion  that  is  under  examination  ;  and  in 
some  instances  the  practised  eye  can  detect  the  pigments  at 
a  glance,  by  reason  of  the  changes  that  have  taken  place 
in  them,  their  oxidation,  or  their  fading,  or  the  hues 
they  assume  under  artificial  light,  or,  as  a  last  resource, 
in  the  spectroscope. 

Again,  careful  attention  in  judging  miniatures  must  be 
given  to  the  appearance  of  the  ivory.  The  earlier  masters 
did  bleach  their  ivories  sometimes  ;  they  experimented 
in  various  directions  ;  they  sometimes  roughened  the 
surface  of  the  ivory,  very  slightly,  to  give  it  a  little  tooth, 
by  which  the  colours  would  bite  on  to  it  ;  and  sometimes, 
on  the  other  hand,  they  polished  it  to  a  bone  or  egg-shell 
gloss.  These  characteristics  can  be  recognised  at  a  glance. 
The  modern  ivory  is,  as  a  rule,  bleached,  and  to  a  very 
pale  colour.  It  is  also  polished  both  sides  ;  the  old  ivories 
were  seldom  polished  on  more  than  one  side.  The  old 
ivories  have  yellowed,  and  are  stained  a  little  at  the  edge 
where  the  gold  beater's  skin  has  touched  them  ;  generally, 


FORGERIES  253 

in  fact,  all  round  the  edge,  where  they  have  been  fastened 
up  to  the  gold-beater's  skin.  If  the  ivory  has  yellowed, 
it  should  be  noticed  whether  it  has  yellowed  in  the  right 
place.  If  the  change  of  tint  has  taken  place  as  much  under 
the  gold-beater's  skin  as  in  the  centre,  then  the  yellowing 
is  artificial  and  intentional,  and  the  miniature  must  be 
discarded. 

As  regards  the  portraits  painted  on  cardboard,  they  are, 
as  a  rule,  painted  direct  on  to  pieces  of  old  playing-cards, 
or  else  on  to  a  thin  parchment,  or  chicken-skin,  mounted 
upon  pieces  of  old  playing-cards  ;  and  a  careful  scrutiny 
will  generally  enable  the  expert  to  determine  whether 
the  playing-card  is  a  genuine  old  one  or  not,  because 
playing-cards  are  not  easy  things  to  copy,  and  the  quality 
of  the  card  and  the  irregularity  of  the  printing  will 
enable  the  old  ones  to  be  detected.  It  should  be 
noticed,  moreover,  that  the  modern  cardboard  [is  rather 
more  porous  than  the  old ;  that  the  colour  on  a  forged 
miniature  sinks  into  the  cardboard  more  than  it  does  in 
the  old  ones,  and  does  not  lie  as  much  on  the  surface. 
In  the  old  one,  the  colours  can  be  felt  above  the  card. 
The  old  test  of  a  pin  can  also  be  used  with  regard  to  an 
antique  miniature,  but  it  must  be  employed  very  discreetly. 
The  pigment  on  an  Elizabethan  portrait  is  quite  hard  ; 
on  a  modern  miniature,  far  softer. 

The  playing-cards  on  which  the  Tudor  miniatures  are 
painted  must  be  examined,  not  only  for  their  composition 
and  quality,  but  as  regards  the  printing  upon  them.  The 
red  suits,  hearts  and  diamonds,  do  not  differ  so  completely 
in  the  old  suits  from  those  used  in  modern  days,  but  the 
clubs  and  spades  were  differently  drawn  in  Tudor  days. 
Even  if  they  are  forged,  and  such  a  thing  is  not  infrequent, 
the  raw  or  broken  edge  of  the  older  print  is  very  different 
to  the  sharp  definition  of  the  forgery  on  the  modern  card, 
and  the  irregular  and  incomplete  printing  of  the  pip  to 
the  modern  (or  forged)  solid  black  effect. 


CHAPTER  XXII 

THE   AMERICAN   MINIATURE   PAINTERS 


THIS  handbook  would  scarcely  be  complete  without 
some  reference  to  the  miniature  painters  who 
practised  in  the  United  States,  though  the  ama- 
teur collector  is  not  very  likely  to  come  across  examples  of 
their  work.  They  are,  however,  to  be  found  occasionally 
in  sale  rooms  ;  and,  in  fact,  it  was  announced  that  some 
examples  of  the  best  of  the  American  miniature  painters 
were  likely  to  be  offered  during  this  very  year  in  London . 
It  will  be  well,  therefore,  to  give  such  information  as  is 
here  available  concerning  the  American  miniature  painters. 
The  best  of  them  was,  undoubtedly,  Malbone,  who  has  a 
high  reputation  both  here  and  in  America,  and  has  been 
compared  with  some  of  the  best  English  and  French 
artists.  He  was  born  at  Newport  in  1777,  and,  while  yet 
a  boy,  painted  a  scene  for  a  theatre.  At  seventeen,  he 
was  fully  established  as  a  portrait  painter  at  Providence  ; 
thence  he  migrated  to  Boston,  and  afterwards  to  New 
York,  Philadelphia  and  Charleston,  going  to  the  latter 
city  in  conjunction  with  Washington  Allston.  In  1801, 
he  and  Allston  came  over  to  England,  mainly  with  the 
view  of  seeing  Benjamin  West,  who  was  at  that  time 
President  of  the  Royal  Academy.  He  was  much  interested 
in  their  work,  and  advised  Malbone  to  remain  in  England, 
but  the  latter  was  not  very  happy  in  this  country,  and  so 
returned  to  Charleston,  where  he  became  an  accomplished 
painter  of  miniatures.  One  of  his  best-known  portraits 

254 


THE  AMERICAN   MINIATURE  PAINTERS    255 

is  that  of  Matilda  Hoffmann,  the  girl  to  whom  Washington 
Irving  was  engaged,  and  he  also  painted  the  portrait  of 
Rebecca  Gratz,  a  young  Jewess,  who  was  referred  to  by 
Irving,  and  who  is  stated  to  have  been  the  original  type 
for  the  character  of  Rebecca  of  York,  in  Sir  Walter  Scott's 
novel,  "  Ivanhoe." 

The  work  of  Malbone  is  light,  delicate  and  sketchy ; 
it  is  graceful  in  colouring,  and  has  a  particular  charm. 
He  was  pronounced  to  be  very  skilful  in  obtaining  a 
likeness  ;  and  his  work  was  in  such  great  demand  that  he 
injured  his  health  by  his  assiduity  at  his  profession,  and 
eventually  had  to  abandon  the  art  altogether.  He  went 
to  Savannah,  where  he  died,  in  1807,  at  the  age  of  thirty- 
seven.  During  the  last  few  years  of  his  life,  he  worked  in 
conjunction  with  a  personal  friend,  one  James  Eraser, 
who  was  also  quite  a  skilful  miniature  painter.  Eraser 
was  originally  brought  up  as  a  lawyer,  but  gave  up  the 
study  of  law  for  art.  Meeting  with  Malbone,  they  appear 
to  have  joined  forces,  and  worked  for  a  while  together. 
Eraser  also  lived  at  Charleston,  and  there,  it  is  stated, 
he  died. 

The  next  notable  miniature  painter  of  America  was  really 
an  Englishman,  Thomas  Sully.  He  was  born  at  Horncastle, 
in  Lincolnshire,  in  1783,  and  died  at  Philadelphia  in  1872. 
Some  of  his  best  work  was  done  at  Charleston,  where 
his  parents  had  settled  when  he  was  quite  a  small  boy. 
His  principal  education  was  carried  on  at  Richmond, 
in  Vermont,  and,  later  on,  he  lived  at  Norfolk,  returning 
every  now  and  then  to  Charleston  to  see  some  of  his 
old  friends.  He  married,  in  1806,  his  brother's  widow, 
and  then  went  to  New  York  and  Boston,  in  the  latter 
city  receiving  some  instruction  from  Gilbert  Stuart.  Then 
he  came  over  to  England,  attracted,  as  were  the  other 
men,  by  the  presence  of  Benjamin  West,  and  he  studied 
in  this  country  for  some  time,  not  returning  to  New  York 
till  1810,  and  then  quickly  moving  to  Philadelphia,  where 


256  THE  MINIATURE  COLLECTOR 

he  died.  He  is  better  known  as  a  portrait  painter  than  a 
miniaturist,  and  there  is  no  doubt  that  his  finest  work 
was  shown  in  larger  portraits,  some  of  which  are  of  consider- 
able beauty  ;  but  he  produced  some  delightful  miniatures, 
and  some  brilliant  sketches  on  ivory,  probably  preparatory 
for  miniatures. 

He  had  a  nephew,  Robert  M.  Sully,  who  was  born  in 
Petersburg,  Vermont,  and  instructed  by  his  uncle.  He 
practised  mainly  in  Virginia  ;  but  he  also  came  over  to 
England,  in  1824,  and  made  the  acquaintance  of  Northcote, 
whose  portrait  he  painted,  and  who  encouraged  him  to 
study  in  this  country.  Very  little  is  known  of  his  work 
in  miniature,  and  his  larger  portraits  are  not  frequently 
to  be  met  with,  but  are  of  unusual  importance. 

The  best  known  of  the  American  painters  is  probably 
Gilbert  Stuart,  who  was  American  born,  haying  first  seen 
the  light  in  the  State  of  Rhode  Island,  in  1755.  He  also 
came  over  to  England  to  West,  and  worked  in  the 
President's  studio  for  some  years,  rising  into  considerable 
eminence  as  a  portrait  painter,  and  having  a  wide  acquaint- 
ance among  the  higher  class  of  English  society.  His  work 
was  appreciated  even  during  the  lifetime  of  Sir  Joshua 
Reynolds,  with  whose  productions  it  was  sometimes 
compared,  and  with  favourable  results  to  Stuart.  He  went 
back  to  America  in  1793,  just  at  the  time  when  he  was  at 
the  height  of  his  popularity  here,  but  he  preferred  to  be 
back  in  his  own  country,  and  was  especially  desirous  of 
painting  a  portrait  of  Washington,  which  eventually 
proved  to  be  his  greatest  work.  He  had  painted,  while 
in  England,  portraits  of  Reynolds,  Alderman  Boydell, 
Dr.  Fothergill,  and  many  other  people,  and  when  he 
returned  to  America  he  painted  the  President  of  the 
United  States  several  times,  and  became  exceedingly 
popular  on  account  of  his  splendid  work.  For  a  while 
he  was  in  Philadelphia  and  Washington,  and  then,  in 
1805,  ne  went  to  Boston,  and  there  it  was  that  he  died. 


THE  AMERICAN   MINIATURE  PAINTERS    257 

It  has  always  been  known  that  he  painted  a  few 
miniatures,  but  there  was  nothing  very  definite  to  which 
his  name  might  be  given,  until  a  portrait  of  John  Henderson, 
the  actor,  came  into  the  Wellesley  collection,  and  this 
portrait,  which  was  engraved  by  Coyt  in  1787,  and  is 
fully  described  in  the  "  Proceedings  "of  the  Massachusetts 
Historical  Society  for  1915,  is  an  extraordinarily  fine 
piece  of  work,  painted  on  a  curiously  prepared  piece  of 
canvas,  and  signed  by  Stuart  on  the  reverse.  There  is 
another  miniature  by  him,  representing  John  Knox,  which 
is  in  the  Drexel  collection  at  Philadelphia ;  and  he  is 
said  to  have  painted  one  or  two  more,  but  of  that  it  is 
impossible  to  speak  with  certainty.  Of  Knox  he  certainly 
painted  two  miniatures,  because  one  of  them  came  up 
for  sale  in  February  in  Philadelphia,  and  was  an  exquisite 
little  work,  representing  the  General  in  uniform,  with  his 
left  hand  resting  upon  a  cannon.  It  was  rather  large  for 
a  miniature,  measuring  about  8  in.  X  5  in.,  but  was  painted 
in  miniature  fashion,  and  was  exceedingly  interesting. 
Perhaps  the  most  notable  small  thing  Stuart  ever  painted 
was  the  portrait  of  Washington,  which  he  executed,  in 
water-colour,  on  silk — a  tiny  thing,  about  5  in.  X  4  in. 
It  formed  part  of  the  flag  that  the  people  of  Germantown 
decided  to  present  to  the  militia  of  the  community.  It 
was  painted  in  a  barn  which  was  fitted  up  as  a  studio,  in 
Main  Street,  Germantown,  Pennsylvania.  Stuart  was 
responsible  for  the  whole  of  the  flag,  it  is  stated,  but  there 
is  no  question  of  his  having  painted  the  portrait  of 
Washington  which  appeared  on  one  side  of  it ;  and  later 
on,  after  the  flag  had  done  service,  it  was  presented  to 
Mr.  Bringhurst,  who  was  the  owner  of  the  barn  where  the 
work  was  executed,  and  came  down,  in  direct  succession, 
to  the  member  of  the  family  who  sold  it  this  year.  The 
flag  was  cut  up  amongst  various  claimants  of  the  Lehman 
family,  the  portrait,  of  course,  being  by  far  the  most 
interesting  part  of  it. 


258  THE   MINIATURE  COLLECTOR 

John  Trumbull  is  probably  the  best  known  of  the  actual 
American  miniature  painters.  He  again  was  an  American 
born,  having  come  into  the  world  at  Lebanon,  Connecticut, 
in  1756,  but  he,  like  all  the  rest,  came  over  to  England 
to  see  Benjamin  West.  Unluckily,  in  this  journey  in 
1780,  he  went  first  of  all  to  France,  and  brought  with  him 
to  West  a  letter  from  Benjamin  Franklin,  which  caused 
his  arrest  for  treason,  and  for  a  while  Trumbull  found 
himself  in  prison,  but  eventually,  through  the  efforts  of 
West  and  Copley,  he  was  permitted  to  return  home.  In 
1784,  he  was  back  again  in  England,  studying  under 
West,  and  then,  after  journeying  about  on  the  Continent, 
he  went  back  to  New  York,  where  he  settled  down,  and 
eventually  died  in  1843. 

His  miniatures  are  very  acceptable  works,  especially 
those  where  he  left  the  portrait,  to  a  certain  extent, 
incomplete,  just  sketching  in  the  draperies  and  accessories, 
and  devoting  all  his  attention  to  the  head,  which  is,  as  a 
rule,  drawn  with  superb  mastery.  A  portrait  of  General 
Mercer,  in  miniature,  is  often  considered  to  be  one  of  his 
finest  works,  and  he  painted,  of  course,  portraits  of  both 
General  and  Mrs.  Washington.  He  was  aide-de-camp 
to  Washington  during  the  Revolutionary  War.  One  of 
his  miniatures  is  in  the  Pierpont  Morgan  collection ; 
another  was  in  the  Wellesley  collection ;  and  they  are  in  high 
repute  in  America,  and  well  worthy  of  the  value  that  is 
given  to  them.  As  a  matter  of  fact,  Trumbull's  miniatures 
are  better  executed  than  are  his  oil  paintings  ;  and  Mr. 
Charles  Henry  Hart,  who  knew  more  about  American 
paintings  than  any  other  man,  said  that  he  attributed 
the  fact  to  the  unfortunate  circumstance  that  Trumbull, 
towards  the  latter  part  of  his  life,  had  only  one  eye  ;  that 
he  did  not  see  form  and  proportion  quite  normally,  more 
especially  as  the  sight  of  that  one  eye  was  somewhat 
astigmatic  ;  but  in  the  miniatures,  which  he  could  hold 
up  much  closer  to  his  face,  he  was  a  great  deal  more 
successful. 


THE  AMERICAN   MINIATURE  PAINTERS    259 

There  has  been  more  than  one  account  of  Trumbull's 
arrest  while  in  England.  Some  writers  have  stated  that 
it  was  because  he  brought  over  the  letter  from  Franklin  ; 
while  others  that  it  was  more  or  less  connected  with  the 
acquaintance  with  Major  Andre.  Whatever  the  reason 
may  have  been,  he  appears  to  have  spent  nearly  seven 
months  in  prison  ;  but  it  did  not  alter  his  opinion  of  this 
country,  and  he  came  back  again  as  quickly  as  he  could, 
and  then  made  the  acquaintance  of  Lawrence,  and  worked 
with  him  for  some  time. 

Another  notable  American  miniature  painter  was  Charles 
Wilson  Peale,  who  was  born  in  Chestertown,  in  1741,  and 
died  in  1827.  It  is  hardly  necessary  to  state  that  he,  like 
all  the  rest,  studied  under  West.  The  President  was 
always  interested  in  his  fellow-countrymen,  and  had  quite 
a  little  group  of  them  in  his  studio  at  different  times. 
Peale  was  an  interesting  man,  perhaps  the  most  versatile 
of  all  the  American  artists,  because  at  various  times  he 
practised  coach-building,  harness-making,  clock  and  watch- 
making, silversmiths'  work,  dentistry  and  taxidermy, 
giving  an  enormous  amount  of  interest,  during  the  whole 
of  his  life,  to  anything  connected  with  natural  history, 
and  becoming  quite  successful  in  setting  up  birds  and 
other  creatures  in  their  natural  mode.  He  was  introduced 
to  Copley  in  1766,  when  the  artist  was  in  Boston,  and  there 
Peale  made  his  first  attempt  at  artistic  work,  painting  a 
miniature  of  himself.  At  that  moment  he  was  also  studying 
under  Hesselius,  the  son  of  Gustav  Hesselius.  He  was 
with  him  about  a  year,  and  then  he  came  over  to  England. 
At  first,  he  did  not  give  up  his  attention  to  portrait  paint- 
ing, but  he  studied  modelling  in  wax  and  cast  moulding 
in  plaster,  and  then  mezzotint  engraving ;  but  he  found 
that  his  chief  skill  was  in  portraits,  and  so  entered  West's 
studio,  and  worked  hard  under  him  for  some  time.  Then 
he  came  back  to  America,  settling  at  Annapolis  in  1769, 
and  three  years  afterwards  went  to  Mount  Vernon  and 


26o  THE  MINIATURE  COLLECTOR 

painted  the  earliest  known  portrait  of  George  Washington, 
executing,  at  about  the  same  time,  several  miniatures 
of  the  President  for  Mrs.  Washington,  to  be  worn  as 
bracelets  or  brooches.  Thence  he  went  to  Philadelphia, 
and  there  he  opened  what  was  called  Peak's  Museum,  in 
which  he  set  up  many  of  his  natural  history  specimens, 
and  for  which  he  painted  a  great  many  pictures. 

He  had  two  brothers,  each  of  whom  painted  a  little 
in  miniature,  St.  George  and  James  ;  and  the  work  of 
the  younger  brother  is  highly  esteemed.  Peale  had  three 
sons  whom  he  called  Rembrandt,  Raphael  and  Titian, 
and  a  daughter,  Ann.  All  three  of  them  were  artistic, 
Rembrandt  being  specially  skilful  in  larger  portraits,  and 
eventually  becoming  President  of  the  American  Academy. 
He  is  said  to  have  painted  thirty-nine  copies  of  his  father's 
portrait  of  Washington,  and  seventy-nine  copies  of  the 
portrait  he  himself  painted  of  the  President,  the  original 
of  which  he  produced  in  1795.  He  and  his  brother  Raphael, 
like  their  father,  both  came  over  to  England  and  studied 
under  West.  The  daughter,  who  married  Dr.  Stoughton, 
and  afterwards  General  Duncan,  also  practised  miniature 
painting,  and  was  successful.  She  appears  to  have  exhibited 
under  both  names,  as  Mrs.  Stoughton  and  as  Mrs.  Duncan. 

Another  artist,  who  has  more  or  less  been  forgotten 
until  recent  years,  was  Hugh  Bridport,  who  was  born  in 
London,  but  was  induced  by  Thomas  Sully  to  come  to 
America  and  settle  down  at  Philadelphia  in  1816,  where 
he  painted  a  considerable  number  of  portraits,  some  of 
them  works  of  great  beauty.  One  of  his  best  was  of  Dr. 
Conwell,  the  Catholic  Bishop  of  Philadelphia,  and  another 
was  of  Francis  Hopkinson,  one  of  the  signers  of  the 
Declaration  of  Independence,  and  the  brother  of  Thomas 
Hopkinson  the  poet,  who  was  the  author  of  "  Hail, 
Columbia."  Several  of  Bridport 's  miniatures  came  into 
the  market  this  year,  and  fetched  high  prices.  They  are 
works  of  unusual  strength  and  merit. 


THE  AMERICAN   MINIATURE  PAINTERS    261 

Bass  Otis,  a  New  England  man,  who  was  born  in  1784, 
and  died  in  Philadelphia  in  1861,  is  said  to  have  painted 
a  few  miniatures,  but  there  is  no  very  definite  evidence  on 
this  score.  He  certainly  produced  some  charming  portraits, 
especially  of  children,  and  he  was  interested  in  lithography, 
and  was  one  of  the  earliest  to  practise  that  art  in  America. 

There  were  various  other  painters  who  may  just  be 
mentioned.  There  was  a  Miss  Goodridge,  who  was  a 
pupil  of  Gilbert  Stuart ;  Benjamin  Trott,  who,  in  the 
early  nineteenth  century,  was  painting  at  Philadelphia  ; 
Saint  Menin,  the  clever  engraver  of  profiles  and  portraits ; 
Robert  Field,  John  Walters,  John  Ramage,  George  Free- 
man, Mary  Wrench,  and  others  ;  but  all  the  most  notable 
have  been  already  referred  to,  with  one  exception,  James 
Sharpies,  with  whom  should  also  be  associated  his  wife, 
and  perhaps  their  son  James,  and  their  daughter  Rolinda. 
Sharpies,  who  is  often  known  in  the  States  as  Sharpless, 
as  he  added  a  second  "  s  "  to  his  name  while  in  America, 
derives  his  especial  fame  from  the  fact  that  Washington 
sat  to  him  for  a  portrait  in  1796,  and  that  this  was  so 
successful  that  for  years  afterwards  both  he  and  his  wife 
and  daughter  were  busy  making  copies  of  it.  Sharpies 
was  an  Englishman,  who  was  born  in  about  1750,  and  was 
intended  for  the  Catholic  priesthood.  He  exhibited  in 
the  Academy  in  1779  and  1785,  and  then,  marrying  a 
lady  of  French  extraction,  determined  to  settle  in  America. 
He  was  captured  en  route,  and  had  to  spend  some  time 
at  Cherbourg.  He  reached  New  York  in  1796,  became  an 
American  citizen,  and  was  exceedingly  popular,  painting 
a  large  number  of  miniatures  and  small  portraits.  He 
died  in  New  York  in  1811,  and  then  Mrs.  Sharpies  returned 
to  England  and  exhibited  miniatures  of  Washington  and 
Dr.  Priestley  at  the  Academy.  She  became  a  woman  of 
some  means,  owing  to  certain  legacies,  and  had  to  do 
with  the  foundation  of  the  Academy  of  Arts  in  Bristol, 
eventually  bequeathing  to  it  a  considerable  sum  of  money 


262  THE  MINIATURE   COLLECTOR 

and  many  of  her  pictures.  She  had  three  children,  who 
were  born  in  America  ;  James  returned  with  her  and 
painted  a  few  miniatures  in  England,  and  Rolinda  also. 
They  both  of  them  practised  at  Bristol,  and  died  there 
in  1839  and  1838  respectively.  The  third  child,  Felix, 
who  also  was  responsible  for  a  few  miniatures  and  some 
larger  pictures,  appears  to  have  remained  in  America  and 
died  there. 


CHAPTER  XXIII 

BIBLIOGRAPHY 


ASPLUND,  KARL. 

Den  Svenska  Portrait  Miniatyrens  Historia  en  Skiss. 
In   Publikation  Sallskapets.     (Stockholm,   1916.) 

An    interesting  illustrated    treatise,   dealing    with 
Scandinavian  miniatures.     For  the  standard  work  on 
the  subject  see  below,  Lemberger. 
Abeten  afP.  A.  Hall  i  emalj  pastell  och  olja.    (1917.) 

A  charming  and  illustrated  study  in  Swedish  of 
the  works  of  Hall.     (See  also  under  Villot.) 

BAYO,   JOAQUIN   EZQUERRA   DEL. 

Exposition  de  la  Miniatura-Retrato  en  Espafia,  1916. 
An  illustrated  catalogue  of  a  recent  exhibition  of 
miniatures  in  Spain,  almost  the  only  work  of  any 
importance  dealing  with  Spanish  miniatures. 
BOUCHOT,  HENRI. 

La  Miniature  Francaise,  1750-1825.     (Paris,  1907.) 

The  standard  work  on  French  miniatures.     Large 
4to,  richly  illustrated. 

Do.  do.  With  preface  by  M.  Frederic  Masson,  without 
plates.  (Paris,  1910.)  Issued  after  M.  Bouchot's 
decease,  with  some  slight  additions  and  an  interesting 
preface.  A  small  convenient  handbook  for  the  study 
of  French  miniatures. 
BURLINGTON  FINE  ARTS  CLUB. 

Catalogue  of  the  Exhibition  of  Portrait  Miniatures, 
1889. 

4to  edit,  without  plates.  Folio  edit,  with  many  plates. 
263 


264  THE  MINIATURE   COLLECTOR 

CARLANDER,  C.  M. 

Miniatyr  Malare  i  Sverige.     (Stockholm,  1897.) 

A  convenient  book  of  reference,  dealing  with  Scan- 

dinavian miniature  painters,  and  giving  considerable 

information  respecting  their  history  and  work. 
CALLIMAKI,  MADAME  DE  EASILY. 

Isabey.     (Paris,  1909.)      Limited  edition. 
The   standard  work    dealing  with    this   important 

miniature  painter.     Large  4to  size,  richly  illustrated. 
ELWARD,  ROBERT. 

On   Collecting   Miniatures,   Enamels   and   Jewellery. 

(Wallet  Series,  1905.)     Small  inexpensive  handbook. 
EDWARDS  E. 

Anecdotes  of  Painters  in  England.     (1808.) 

Intended  as  an  addition  to  Walpole's  "  Anecdotes  " 

and  giving  some    important  information   respecting 

English    miniature   painters  of   the  eighteenth    cen- 

tury. 
EHRICH  BROTHERS. 

One   hundred   early   American   Paintings.     (1918.) 
A  most  useful  book  of  reference  concerning  American 

artists,  well  illustrated  and  very  reliable. 
FOSTER,  J.  J. 

Miniature  Painters,   British   and  Foreign.      (2   vols., 


Limited  edition,  richly  illustrated. 

Do.     British    Miniature    Painters    and    Their    Works. 
(1898.) 

Illustrated.      Notable  for  information  on  American 
painters  and  on  Thorburn. 
Do.     Chats  on  Old  Miniatures.     (1908.) 

A  small  convenient  handbook,  illustrated. 
Do.     Samuel  Cooper.     (London,  1914-16.) 

150  copies  only.  Very  handsomely  illustrated  with 
photogravure  plates.  An  important  work,  issued  at 
a  high  price,  and  valuable  for  its  illustrations. 


BIBLIOGRAPHY  265 


GOULDING,   R.    W. 

Catalogue  of  the  miniatures  in  the  possession  of  the 
Duke  of  Portland  at  Welbeck  Abbey.     (1916.) 
Do.     do.     Published  in  the  Walpole  Society's  "  Proceed- 
ings, Vol.  IV.     (1916.)" 

An  exceedingly  important  catalogue,  containing 
complete  information  concerning  the  painters  and  their 
works,  brought  right  up  to  date.  The  two  books  are 
identical,  the  actual  catalogue  being  issued  in  a 
limited  edition  by  the  Duke,  but  permission  was 
given  for  its  publication  beforehand  for  the  use  of  the 
subscribers  to  the  Walpole  Society.  It  is  richly 
illustrated,  the  most  important  catalogue  that  has  yet 
been  issued,  and  a  work  deserving  all  possible  praise. 

GRAVES,  ALGERNON. 

The  Royal  Academy  Exhibitions,  1769-1904,  8  vols. 

(1905-6.) 

The  Society  of  Artists  and  the  Free  Society,  1760-1791. 

(1906.) 

The  British  Institution,  1806-1867.     (1908.) 

A  Dictionary  of  Artists,  1760-1893.     (1901.) 

A  Century  of  Loan  Exhibitions,  1813-1912,  5  vols, 

(1913-15.) 

Important  works  of  reference  dealing  with  the 
various  artists  and  their  exhibited  works. 

HEATH,  DUDLEY. 

Miniatures  (Connoisseur  Series,  1905).  With  illus- 
trations in  monotone  and  colour.  Written  from  an 
artist's  point  of  view. 

HARDIE,  MARTIN. 

Norgate's  "  Miniatura,  or  the  Art  of  Limning." 
(1919.) 

A  reprint  of  Norgate's  famous  treatise,  with  an 
important  introduction,  dealing  with  its  history  and 
with  the  history  of  the  similar  treatise  by  Hilliard. 


266  THE  MINIATURE   COLLECTOR 

HERBERLE,  J.  M. 

Catalogue  of  the  Albert  Jaffe  Collection  of  Miniatures 
in  Hamburg,  1905.     Illustrated. 
KENNEDY,  H.  A. 

Early  English  Portrait  Miniatures  in  the  collection  of 
the  Duke  of  Buccleuch.  Published  by  "  The  Studio," 
1917. 

A  valuable  catalogue,  richly  illustrated  with  plates, 
in  monotone  and  in  colour,  and  containing  the  result 
of  recent  investigations.     Important  both  for  illus- 
trations and  letter-press. 
LEISCHING,  EDOUARD. 

Die  Bildnis  Miniatur  Oesterrich.     (Vienna,  1907.) 

The  standard  work  dealing  with  Austrian  minia- 
tures.    Illustrated  in  the  same  sumptuous  fashion  as 
the  following  books  by  Lemberger.     Limited  edition. 
Do.     Miniaturen  Ausstellung  in  Wien.     (1905.) 

An  important  catalogue  of  an  exhibition  of  minia- 
tures in  Vienna,  a  handy  work  for  reference. 
LEMBERGER,  ERNST. 

Die  Bildnis  Miniatur  in  Deutschland,  1550-1850. 
(Munich,  1909.) 

The  standard  work  on  German  miniatures.  Richly 
illustrated,  and  with  colour  plates.  Large  4to, 
limited  edition. 

Do.    Die  Bildnis  Miniatur  in  Skandinavien.     (2  vols., 
Berlin,  1912.) 

A  sumptuous  work,  of  similar  character  to  the  one 
above,  the  standard  work  on  Scandinavian  miniatures. 
Do.    Meister  Miniaturen  aus  Fiinf  Jahrhunderten,  1911. 
Do.     Portrait  Miniatures  of  Five  Centuries. 

The  first-named  book,  which  is  in  German,  contains 
an  important  catalogue,  arranged  alphabetically,  of 
miniature  painters,  with  dates  and  very  brief  informa- 
tion. The  English  translation,  published  in  London, 
omits  this  catalogue.  Both  works  are  richly  illus- 


BIBLIOGRAPHY  267 

trated,  and  have  plates  in  colour.  The  editions  were 
limited. 

LEMAIRE,  LUCIEN. 

Autissier,  Miniaturiste,  1772-1830.     (Lille,  1912.)  ": 

The  history  of  a  French  miniature  painter,  well 
illustrated. 

LAMBOTTE,  PAUL. 
La  Miniature. 

An  article  from  "  L'Art  Flamand,"  published 
separately  (Brussels,  1912),  dealing  with  the  miniatures 
exhibited  at  the  Exhibition  of  Miniatures  in  Brussels. 

LABAN,  FERDINAND. 

H.  F.  Fiiger,  der  Portratminiaturist.     (Berlin,  1905.) 
The   standard  treatise   on   the   miniature   painter 
Fiiger,  well  illustrated. 

LUGT,  FRITS. 

Le  Portrait-Miniature,  illustre  par  la  collection  de  sa 
Majeste  La  Reine  des  Pays  Bas.  (Amsterdam,  1917.) 
A  treatise  dealing  with  the  miniatures  in  the  posses- 
sion of  the  Queen  of  Holland,  illustrated  with  colour 
plates,  privately  printed,  and  containing  some  in- 
teresting information  respecting  English  and  Dutch 
painters. 

LUND,  E.  F.  S. 

Miniatures  Amlingen  i  de  Danske  Kongers  Krono* 
logiske  Samling  paa  Rosenberg  Slot.  (Copenhagen, 
1912.)  2  vols. 

A  well  illustrated  catalogue,  in  two  volumes,  of  the 
miniatures  in  the  Rosenberg  Palace,  forming  a 
standard  work  of  reference  on  all  Danish  miniature 
painters  and  their  works. 

MAUCLAIR,  CAMILLE. 

Les  Miniatures  du  XVIIIe  Siecle,  1912,  and  Les 
Miniatures  de  I'Empire  et  de  la  Restauration,  1913. 

Two  4to  books  dealing  with  French  miniatures, 
well  illustrated,  and  with  plates  in  colour.  Limited 


268  THE   MINIATURE  COLLECTOR 

edition.     Important  both  for  illustrations  and  letter- 
press.    400  fcs.  each. 
MANTZ,  PAUL. 

Les  Miniaturists  du  XVIIIe  Siecle. 

Article  reprinted  from  "  L' Artist,"  1858. 
MYCIELOKI,  JERZY. 

Sto  Lat  Dziejow  MalarStwa  W.  Polsge,  1760-1860. 
(Cracow,  1902.) 

The  standard  work  of  reference  on  Polish  minia- 
ures. 
Do.     do.     Alexsander  Kucharski.     (Cracow,   1898.) 

Memoir  of  a  Polish  miniature  painter,  whose  works 
have  considerable  historic  value  and  charm. 
Do.     A  Hundred  Years  of  Painting  in  Poland. 

A  partial  translation  of  the  above  book,   issued 
privately. 
MUNTON,  MRS.  F.  K. 

The  catalogue  of  the  Bohn  Collection  of  Miniatures. 
(1884,  privately  printed.) 
MOLINIER,  EMILE. 

Dictionnaire  des  Emailleurs.     (Paris,  1885.) 

Small,  convenient  and  reliable  dictionary,  dealing 
with  painters  in  enamel. 
PROPERT,  J.  LUMSDEN. 

History  of  Miniature  Art.     (1887,  small  folio.) 

Instructive  work,  one  of  the  earliest  dealing  with  the 
English  miniature  painters. 

Do.     Catalogue  of   his  collection    of   miniatures.     Pri- 
vately printed,  1880. 
REDGRAVE,  S.  AND  R. 

Dictionary  of  Artists  of  the  English  School.     (1878.) 
Do.    A  Century  of  Painters  of  the  English  School.    (1890 .) 
ROBERTSON,  EMILY. 

Letters  and  Papers  of  Andrew  Robertson.     (1895.) 

An   important   illustrated   account   of   Robertson, 
with  information  concerning  his  palette  and  technique. 


BIBLIOGRAPHY  269 


SCHIDLOF. 

Die  BildnisMiniatur  in  Frankreich.     (Leipsic,  1911.) 

The  standard  German  work  on  French  miniatures, 
richly  illustrated,  privately  printed.     It  must  be  used 
in  conjunction  with  Bouchot. 
SMITH,  J.  T. 

Nollekens  and  his  Times,  edited  by  Wilfred  Whitten. 
(2  vols.,  illustrated,  1914.) 
Do.     A  Book  for  a  Rainy  Day,  edited  by  Whitten. 


These  two  works  contain  a  great  deal  of  information 
concerning  the  artists  of  the  eighteenth  century. 
STROEHLIN,  ERNEST. 

Jean  Petitot  et  Jacques  Bordier.     (Geneva,  1905.) 

The  standard  work  on  these  two  enamel  painters. 
SOUTH  KENSINGTON  MUSEUM. 

Portrait  Miniatures  and  a  series  of  photographs  of 
them.     (Arundel  Society,  1865.) 
TAIGNY,  EDMOND. 

J.  B.  Isabey,  sa  Vie  et  ses  (Euvres.      (Paris,   1859.) 

For  a  more  recent  work  on  Isabey  see  under  Callimaki. 
USHER,  J.  W. 

Catalogue  of  Collection  of  Objects  of  Art.     (1900.) 
Privately  printed,  50  copies  only.     Contains  illus- 
trations of  several  fine  miniatures. 
Do.     An  Art  Collector's  Treasures.     (1916.) 
300  copies  only,  privately  printed. 

Contains    illustrations    in    colour    of    several    fine 
miniatures. 
VILLOT,  FREDERIC. 

Hall,  sa  Vie,  ses  (Euvres  et  sa  Correspondance.   (Paris, 


The  standard  work  on  this  eminent  Swedish  painter. 
WALPOLE,  HORACE. 

Anecdotes  of  Painters  in  England.     (3  vols.,  1862.) 
Indispensable  work  of  reference. 


270  THE   MINIATURE  COLLECTOR 

WHARTON,  A.  H. 

Heirlooms  in  Miniatures.     (Philadelphia,  1902.) 

Information  concerning  American  miniature  pain- 
ters of  considerable  value. 

WEAVER,  LAWRENCE. 

The  First  and  Chief  Grounds  of  Architecture,  by  John 
Shute,  painter,  1563. 

A  reprint  of  this  work,  issued  in  1912,  limited  edition, 
contains  some  information  on  his  miniatures. 

WHITTOCK,  N. 

The  Miniature  Painter's  Manual,  1844. 

Coloured  illustrations,  and  information  on  painting 
miniatures. 

WRANGL,  BARON  N. 

An  important  series  of  articles  dealing  with  the 
Russian  Miniature  Painters  and  their  works  which 
appeared  in  CxapHe  Fo^ti  for  1909,  well  illustrated. 

WELLESLEY,  F. 

Catalogue  of  his  collection  of  miniatures  and  drawings, 
privately  printed. 

The  Catalogue  of  his  Sale  at  Sotheby's,  July,  1920, 
is  a  useful  book  of  reference,  and  is  well  illustrated. 

WILLIAMSON,  G.  C. 

Catalogue  of  the  Collection  of  the  Miniatures,   the 
Property  of  the  late  Mr.  J.  Pierpont  Morgan.     4  vols. 
Imperial    4to,    richly   illustrated,    privately    printed. 
(1906-7.) 
Do.     History  of  Portrait  Miniatures. 

2  vols.     Imperial  4to,  dealing  with  European  minia- 
tures, and  with  all  the  great  collections,  with  about 
800  separate  illustrations.     (1904.) 
Do.     Richard   Cosway,    R.A.,   Miniature   painter.     143 

illustrations  (1897.) 
Do.     Richard  Cosway,  R.A. 

Small  4to,  with  a  hundred  illustrations,  based  on  the 
larger  work  issued  in  1897.  (1905.) 


BIBLIOGRAPHY  271 


WILLIAMSON,  G.  C. 

Do.  Portrait  Miniatures,  a  handbook  for  collectors, 
with  194  illustrations.  (1897.) 

Do.  George  Engleheart,  1752-1829.  Miniature  Painter  to 
George  III.  His  Life  and  Works,  with  complete  list 
of  all  his  sitters.  Richly  illustrated.  (1902). 

Do.  Andrew  and  Nathaniel  Plimer,  Miniature  Painters, 
their  Lives  and  their  Works.  Illustrated  with  200 
reproductions  and  eight  photogravures.  (1903.) 

Do.  How  to  Identify  Portrait  Miniatures,  with  chapters 
on  How  to  Paint  Miniatures.  40  plates.  (1904.) 

Do.  John  Downman,  A.R.A.,  His  Life  and  Works,  with 
90  illustrations  of  his  drawings  and  miniatures.  (1907.) 

Do.  Portrait  Miniatures,  English  and  Foreign.  An 
Essay  with  40  colour  plates,  and  16  plates  of  monotone 
illustrations.  Issued  by  "  The  Studio,"  1910. 

Do.     Portraits  en  Miniature.     (Paris,  1910.) 

The  same  book  in  French  with  certain  additions. 

Do.  Catalogue  of  a  Collection  of  Miniatures,  the  pro- 
perty of  H.R.H.  Prince  Ernest  Augustus,  Duke  of 
Cumberland,  with  74  gravure  plates,  privately  printed. 
(1914.) 

Do.  Katalog  einer  Sammlung  von  Bildnisminiaturen 
im  Besitze  Seiner  Koniglichen  Hoheit  des  Herzogs  von 
Cumberland. 

74  gravure  plates,  privately  printed.    (1914.) 

Do.     L'Exposition  de  la  Miniature  a  Bruxelles  en  1912. 
Choix  des  ceuvres  les   plus  remarquables  des  minia- 
turists de  toutes  les  £coles  du  XVe  au  XIXe  siecle. 
La  miniature  anglaise. 

89  illustrations  and  14  colour  plates. 

Do.  Ozias  Humphry,  R.A.,  1743-1808.  Miniature 
painter  and  portrait  painter. 

Richly  illustrated,  and  with  plates  in  colour.     (1919.) 

Do.     John  Zoffany,  R.A. 

Richly  illustrated  and  with  plates  in  colour.     (1920.) 
Written  in  collaboration  with  Lady  Victoria  Manners. 


272  THE  MINIATURE  COLLECTOR 

WILLIAMSON,  G.  C. 

Miniatures  at  Belvoir  Castle. 

Written  in  collaboration  with  Lady  Victoria  Manners. 
(1904.)     Privately  printed. 
Do.     Miniatures  at  Devonshire  House. 

Written  in  collaboration  with  Cecil,  fourth  Earl  of 
Liverpool.     Privately  printed.  (1905.) 
Do.     Miniatures  at  Castle  Howard. 

Written  in  collaboration  with  Cecil,  fourth  Earl  of 
Liverpool.     Privately  printed.     (1905.) 
Do.     Bryan's  Dictionary  of  Painters  and  Engravers. 
5  vols.,  edited  by  Dr.  Williamson.     (1903,  4,  5.) 
Do.     Collection  of  Miniatures  belonging  to  Lord  Hoth- 
field,  with  biographies  of  the  Artists.     (1915.) 

Privately  printed. 

Do.       William       Grimaldi,       1751-1830.        Miniature 
Painter.  Enamel  painter  to  George  I.     His  history, 
life  and  works,  with  many  plates.     In  the  Press. 
Do.     Daniel  Gardner,      1750-1805.     Portrait  Painter  in 
Gouache  and  Pastel.  Miniature  Painter  and  Etcher.  His 
history,  life  and  works,  with  many  plates.     In  the  Press. 
Also  various  catalogues  of  exhibitions  of  miniatures 
and  of  the  miniatures  exhibited  in  various  galleries, 
public  and  private. 
YOXALL,  J.  H. 

Collecting  Old  Miniatures.     (1916.) 
Small,  convenient  handbook. 


Two  very  rare  books,  also  bound  together,  may  be 
mentioned.  Both  of  them  are  of  great  interest  to  the 
student  of  miniature  painting.  At  present  one  perfect 
copy  only  is  known,  and  by  the  kindness  of  its  owner, 
Mr.  H.  C.  Levis,  illustrations  of  the  two  title  pages  are 
given  here.  "An  Introduction  to  the  General  Art  of  Draw- 
ing, with  a  treatise  on  Limning,  etc.,  1674  " ;  and  the  actual 
treatise,  "The  Art  of  Limning,  etc.,  by  Mr.  Gerhard  of 
Brugge,  translated  from  the  Dutch  by  J.  L.,  1674." 


BIBLIOGRAPHY 


273 


'! 

il 

f 


* 


274  THE   MINIATURE  COLLECTOR 

DEALING  WITH  PIGMENTS. 

CHURCH,  SIR  A.  H. 

The  Chemistry  of  Paints  and  Painting.     (1901.) 

A  wonderful  book,  full  of  information  and  written  by 

the  man  who  was  in  his  day  the  very  highest  authority 

on   the  subject.     Sir  Arthur   Church  was   Professor 

of  Chemistry  to  the  Royal  Academy.     He  died  in  1915. 

LAURIE,  DR.  A.  P. 

The  Pigments  and  Mediums  of  the  Old  Masters.    (1914.) 
Dr.   Laurie  succeeded  Sir  Arthur    Church    in    his 
position,  and  in  this  book  has  given  a  vast  amount 
of  authoritative  material  and    set  forth  the  results 
of  his  life-long  study  of  the  subject. 
The   student    cannot   afford   to  be   without  both  these 
volumes. 

Madderton's  Notes  for  Artists  are  also  to  be  commended. 
In  No.  18  is  an  important  article  on  varnishes  used  by  the 
old  masters,  by  Dr.  Laurie,  and  in  Nos.  13  and  14  are  two 
articles  by  the  author,  on  cracking  and  vehicles.  Mad- 
derton's catalogues  of  colours  often  contain  notes  of  some 
value  bearing  on  the  use  and  permanence  of  pigments. 


APPENDIX 

COMPLETE  LIST  OF  ALL  THE  PERSONS  WHO 
SAT  FOR  THEIR  PORTRAITS  TO  WILLIAM 
WOOD  (1768-1809) 

Extracted  from  his  ledgers  and  never  before  published. 

N.B.  Full  details  of  any  miniatures  will  be  gladly  given  upon 
application  by  the  author  of  this  book.  Of  those  marked  T.  there 
are  tracings  preserved  in  the  ledgers,  most  valuable  for  identification. 


Ambrey,       Mrs.       (Edgware 

Road),  ii 
Alexander,  Mr.  (Haymarket), 

29  ;   Mrs.,  39,  146 
Atkinson,  Mrs.  (Great  Russell 

Street),  41 
Allen,  Mr.  Jas.  (Bristol),  84; 

Mrs.,  101 
Acraman,  Mr.   (Bristol),  85  ; 

Miss     Sarah     Ann,     788  ; 

Miss,     793  ;      Thos.,    793 ; 

Mrs.  John,  6155 
Abercorn,  son  of  Duke  of,  as 

Cherub  in 
Allen,  Mr.,  188 
Absalom,   Mr.   (St.  Swithin's 

Lane),  245 
Adamson,  Miss,  264 
Atcheson,    Mr.    (Inner   Tem- 


ple), 322 
lien, 


Allen,  General  John  (Verd- 
mont,  N.  America),  403 

Ashe,  Dr.  Hoadley  (Eling, 
near  Southampton),  462, 

479 
Andre,  Mr.,  495 


T.  Abernethie,     Miss    Margaret 

(Banff),  535,  561  (now  Mrs. 

Grant) 
Abernethie,  Mr.  John  (Loth- 

bury),  542 

Acraman,   Mr.   Daniel   (Bris- 
tol), 550  ;    Mrs.,  789 
T.  Abington,  Mr.  William  (East 

India  House),  567 
T.  Akers,     Miss     Isabella     (St. 

Kitts),  638,  6036 
Akers,   Mrs.   Jane   (Howland 

Street),  639 
Arnold,  Mr.  Edwd.    (son    to 

General  Arnold,  of  Glo'ster 

Place,  Marylebone),  764 
Arnold,  Mrs.  (wife  to  General 

A.  American),  732 
Allt,    Mr.    (late  of  Antigua), 

784 
T.  Arbuthnot,  Mr.  (Edinburgh), 

786 ;   Mr.    Geo.,   828  ;   Mr. 

Robert,  839 
T.  Aylmer,  Lord,  860 

Apreece,    Miss    (daughter   of 

Sir  Thos.  A.),  864 


27i 


276 


APPENDIX 


Apreece,  Lady  (wife  of  Sir  T.), 
895 

Ashe,    Miss    Laura    Hoadley 
(daughter  of  Dr.  Ashe),  910 

Abington,         Miss        Sophia 
(Wood's  niece),  917 

Atkinson,      Mr.      (Calcutta), 
6074 

Armstrong,     Mrs.     (Bahama 
Islands),  6119 

Aldebert,  Mr.  (Stamford  Hill), 

6120,  6146 

T.  Adams,  Mr.  Fredk.  (E.  I.  Co. 
Naval  Service),  6134 

Ainslie,  Capt.  (E.  I.  Co.  gih 
Native  Infantry),  6175 

Adams,  Miss  (Swansea),  6184 

Acraman,  Mr.  (copy  of  Carlo 
Dolci  picture) ,  6201 

Allan,   Mr.   and  Mrs.    (Edin- 
burgh), D  099 

Abel,  Head   of,   after  Gains- 
borough, D  039 


Barksdale,  Miss  Ann,  17 
Barksdale,  Miss  Jemima,   18 
Burrell,  Mr.   (Brighton),  61 
Bourchier,    Mr.    (Queen    St., 

Mayfair),  71 
Bower,    Ensign,   i4th    Foot, 

81 

Braide,  Mr.  (Bristol),  89 
Budson,  Mr.  (Bristol),  95 
Brodie,  Mrs.  (Golden  Square), 

131,  166 

Bracken,  Mrs.  (Ipswich),  145 
Birch,  Mr.,   Junr.   (Fulham), 

178,  248 
Brail,     Miss     (Queen     Anne 

Street,  E.),  194 
Burns,    Mrs.,    Senr.    (Queen 

Street,  Mayfair),  179 
Burns,  Mr.  W.  Stukely  (Po- 
land Street),  201 
Burns,  Capt.,  202 
Burns,    Mrs.    Stukely    (Eton 

Street,  Pimlico),  236 
Bardsley,  Mrs.  (Manchester), 

238 


Benjoin,     Mr.     Geo.     (Jesus 

Coll.,  Cam.),  261 
Bowden,    Mr.    (Milk   Street), 

278 
Basilico,  Mr.  (Fludyer  Street) , 

287  ;   Mrs.,  312 
Beauvais,  Mr.  (Chiswick),  306 
Bramley,  Mr.  I.  C.   (Alders- 
gate  Street),  310 
Benion,  Mr.  (Wrexham),  336 
Bateman,     Miss     (Chiswick), 

346 
Burton,  Miss  (Chester  Place), 

352 

Byng,  Mrs.  (New  Road),  353 
Barnard,  Miss,  378  (now  Mrs. 

Hicks,  396) 
Branton,      Mr.      (Aldersgate 

Street),  388 
Browne,        Mrs.        Hawkins 

(Bridgenorth),  400 
Bruce,    Mr.    (Sloane   Street), 

43i 

Bellamy,  Mrs.  (Clapham),  444 

Berckemeyer,  Mrs.  (Ham- 
burg), 447  ;  Mr.,  456 

Bradshaw,  Mrs.,  449  (see 
Cooke) 

Bell,  Miss  (Lincolnshire),  454 

Bingham,  Capt.  Robert  (see 
Parker) 

Belcher,  Mr.,  483 

Bingham,  Capt.  Joseph 
(R.N.),  488 

Bruce,  Capt.  Hy.  (Dragoons), 

499 
T.  Barrett,     Mr.     C.     R.     (nth 

Light  Dragoons),  508 
Bux.Shaick  Emaum  (A  Ben- 

gal  Consumah),  511 
T.  Beak,    Mr.   (Gerrard  Street), 

527 
Bullock,     Mr.      (nth    Light 

Dragoons),  533  ;    Mrs.,  534 
Beckwith,     Col.     Ferdinand, 

549 
Burton,  Mrs.  (Percy  Street), 

592 

Bourchier,  Mr.  (Harley  Street, 
late  Bombay),  613 


APPENDIX 


277 


T.  Beresford,    Capt.    (2nd    Life- 
guards), 641 

Beauvais,  Mrs.  (Chas.  Street, 
Berkeley  Square) ,  644  ;  two 
sons,  Lewis  and  Alexander, 

837 
Bent,   Miss  (Plymouth),   652 

(see  Farmer) 
T.  Bourke,     Mr.     Robert     (ist 

Foot-guards),  687 
T.  Billinghurst,    Mr.    Geo.    (yth 

Dragoons),  697,  708 
T.  Bruce,     Capt.     (39th     Foot, 

Sloane  Street),  700 
Bellasyse,  Mrs.,  703 
"Burton,       Major-Gen.       (3rd 

Guards,  Brook  Street),  705 
T.  Bramley,    Mr.    Collingworth 

(Aldersgate  Street),  706 
T.  Bateman,  Mr.  (Bunhill  Row), 

7*5 

T.  Barnard,    Mr.  Lockart 

(Philpot  Lane),  728 

Brichzeke,  Mrs.  (Beckenham. 
Kent),  738,  777 

Byles,    Mr.     (Halifax),     754, 

6019 
T  Bannister,   Mr.,   Junior 

(Great  Russell  Street),  759 

Baker,  Miss  Elizabeth  (Can- 
terbury), 760 

Burnett,  Mr.  (Scotland),  766, 

Bussell,  Revd.  Mr.  (Fen- 
church  Street),  769 
T.  Beachcroft,  Mrs.  (Grafton 
Street,  Bond  Street),  806; 
daughter  Kitty,  986  ;  Col. 
Matthew,  son,  995  ;  Mrs., 
6009 

Bartlett,  Miss  (Bristol),  808 
T.  Bourke,  Mrs.  Richard  (Som- 
erset   Street),    814,    941   ; 
Mr.,  937 

Boyle,  Lord  (son  of  Earl  of 
Shannon),  826,  979  ;  Lady 
B.,  971 

Baker,    Mr.    Edwd.     (Wilts) 

876. 

T.  Blunt,  Mr.  (Old  Pay  Office, 
Broad  Street),  892. 


Brunton,  Miss   Louisa  (Nor- 
wich), 911,  920 
Bristow,  Mrs.  (late  of  Madras), 

930 
Blount,      Mrs.       Ed.       (nee 

Wright,  q.v.),  957 
Browne,   Col.     (i2th     Light 

Dragoons),  962 
Brooke,  Mrs.  Louisa  (Nacton, 

near  Ipswich,  Suffolk),  998. 

wife    of    Capt.    B.,    R.N., 

daughter  of  Lady  Middle- 
ton 

T.  Bush,  Mr.  (Bristol),  6013 
T.  Butler,     Hon.     Capt.     Chas, 

(brother  to  Earl  of  Ormond, 

1 4th      Light      Dragoons), 

6023. 

T.  Bruce,  Dr.  (New  York),  6025 
Bell,  Miss  (Manager  of  Drury 

Lane  Theatre),  6031 
Browne,    Mrs.    (living    with 

Major  Thornton),  6064 
Birch,  the  late  Mr.  (Thorpe, 

Norfolk),  6069 

Bulkely,  Miss  Charlotte  (Lis- 
bon), 6087 
Burrard,    Mrs.     (Lymington, 

Hants),  6091 
T.  Button,  Mr.  Philip  (Stifford, 

near  Grays,  Essex),  6104 
Beachcroft,     Miss    F.     (Mrs. 

Dunlop,  of  Stockwell) ,  61 1 1 
T.  Birch,    Capt.     (E.    I.,     Ship 

Britannia),  6117 
T.  Burnaby,  Colonel  (ist   Foot. 

guards,  Lowesby  Hall,  near 

Leicester),  6118 
Billinghurst,  Miss,  6122 
Baker,       Mrs.       (Devonshire 

Street),  6125 
T.  Blair,     Mr.,    (Glo'ster   Place 

Portman     Square),     6129  ; 

wife,  6130 
Birch,  Miss  (Jamaica  Place, 

Limehouse),  6131 
Brook,      Revd.     Mr.      Thos. 

(Hambrook,  Bristol),  6140 
Brooke.Miss  Fanny (Sodbury, 

Bristol),  6141 


APPENDIX 


Brook,  Mr.  Hy.  (Hensham  or 

Henbury,    Bristol),    6143  ; 

wife,  6153 

Bishop,  Mr.  John,  6144 
Bamfylde,  Mr.  Geo.  W.  (son 

of  Sir  Chas.  B.),  6171 
Bloss,     Lady     (wife     of     Sir 

Robert      Bloss,     Gabalva, 

Glamorgan),  6176 
Birch,  Mrs.  J.  (Gower  Street) 

and  Child,  6195 
Boughe,  Mrs.,  6208 
Bartlett,  Mr.  Thos.  (Temple), 

D.  09 
Brooksbank,       Mr.       Henry 

(Chesterfield     Street),     D. 

032  (see  D.  034) 
Bristow,  Mrs.  Robert  (Great 

Queen  Street),  D.  045 
Brooke,    Miss    (Cork   Street), 

D.   102 


Cox,  Miss  (Brook  Street),  13 
Child,  Mr.,  19 
Clergyman,  25 

Cornthwaite,  Mrs.  (Bank),  30 
Campbell,       Mrs.         (Surrey 

Street),  44 

Clidsdale,  Dr.  Jas.  (Edin.),  55 
Campbell      (Argyle      Street, 

nephew  to  the  Duke),  59 
Callcott,   J.  W.,  Esq.,    M.B. 

(Kensington  Gravel    Pits), 

80 

Coldwell,  Miss,  83 
Coulstring,  Mr.  (Bristol),  91, 

175 

Colman,    Miss    (Tottenham) , 

102 
Coxwell,   Mr.    (Temple  Bar), 

105 

Capper,  Mr.  (Oxford),  117 
Clifton,    Mrs.    (Cross  Street, 

Hatton  Garden),  143 
Chase,  Miss  (Kensington),  148 
Good,    Mr.     (Mawbey    Place, 

South  Lambeth),  161 
Cox,  Mrs.   (Lower  Grosvenor 

Place),  183 


Chase,     Mrs.      (Kensington), 

184,  190 
Cracroft,  Mr.  Charles  (Aber- 

gavenny),  210 
Cox,  Mr.   (New  Court,  Crut- 

ched  Friars),  223 
Cockburn,     Miss   (Great   Or- 

mond  Street),  259 
Calcroft,  Mr.  (Great  Marlbro' 

Street),  273 
Comberbach,      Mr.      (Craven 

Street),  285 
Clifford  of  Chudleigh,  Lady, 

293 
Calverley,    Mr.    (of   Chester), 

294 

Cadell,  Mr.  (Edin.),  317. 
Cambridge,      Revd.     George 

(Twickenham),  333  ;  Mrs., 

363 

T.  Coulthurst,  Revd.   Dr.    (Hali- 
fax), 344 

Carr,  Mr.  (Surgeon  E.  India- 
man),  393 

Codrington,  Miss,  435 

Clarke,   Capt.    (E.  I.  Army), 
440 

Carew,  Mr.  (Ireland),  442 

Clarke,  Mr.  Robert,  473 

Chaffin,  Mr.,  474 
T.  Cotgrave,    Miss  Fanny,  523  ; 
her  son,  Master  Hewitt,  963 
T.  Cooper,  Mr.  (Ely  Place),  529 

Campbell,  Mrs.,  (wife  of 
Archibald  C.,  of  Whitton 
Dean),  547 

Chaplin,  Mr.,  552 

Cynthia  (see  565  and  6181) 

Campbell,  Mr.,  604 

Coles,  Mrs.  (Camberwell),  609 

Cosser,  Mr.  (Millbank,  West- 
minster), 617 

Cumming  Ad.  (Greenwich), 
622 

Coppinger,  Mr.  (Cork  Street), 

626 

T.  Campbell,  Mr.  Chas.   (Alder- 
manbury  Postern),  633 

Clarke,  Revd.  S.  (Hanover 
Square  and  Hants),  657 


APPENDIX 


279 


T.  Cleaveland,       Master       Sam 

(Warborne  House,  Hants), 

663 ;      Mr.     R.     F.,     710 ; 

Master  Thomas,  823 

Caittar,   Mr.   (Bread  Street), 

680 
T.  Cuppage,       Master       Bruce 

(Sloane  Street),  686 
T.  Cochran,  Mr.  (Halifax),  692 
Gary,    Mr.    John    (Lincoln's 

Inn),  694 

Circassian,  The  (Mrs.  Camp- 
bell), 711 
T.  Collins,  Mr.  (ist  Life-guards), 

718 
T.  Crewe,      Lieut.-Col.     (Crewe 

Hall,  Norfolk),  723 
T.  Chinese  Man,  727 
T.  Crofton,       Master       Morgan 

(Middy,  R.N.),  740 
Cockburn,  Mr.  (Strand),  744  ; 

Mrs.,  748 
Crofton,  Sir  Hugh  (Ireland), 

747 

T.  Cunyngham,  Col.  David 
(6oth  Foot,  Park  Street, 
Grosvenor  Square),  752, 

8i3 
T.  Clay,  Mr.  Joseph  (Old  Broad 

Street),  787 

Cazalet,  Mr.  (late  of  Peters- 
burgh),  797 
Cooke,  Mrs.  (alias  Bradshaw, 

see  449,  Baker  Street),  812, 

848,    857,    871,    959,    960, 

967 
Cooke,  Revd.  Richard  (Duke 

Street,     Portland     Place), 

829,  2nd  wife  of  D.  144 
Casstel,    Miss    Ann    (Bruton 

Street),  843 
T.  Collins,  Mr.  (ist  Life-guards), 

718 
Chalmers,  Sir  Geo.  (see  Bart- 

lett) 
Camp,     Mrs.       (New      Bond 

Street),  869 
Capel,      Hon.      and      Revd. 

William  (Watford,  Herts), 

852 


Cockerell,  Miss  Ann  (Saville 

Row),  868 
Crompton,     Mr.     Jas.,     885 

(Tooks  Court) 

Clarke,   Miss   Sarah    (Grand- 
daughter   Mr.    Sydenham, 

Bond  Street),  888 
Clay,     Miss     (Broad    Street, 

City),  896 
T.  Crozier,  Mr.  (Bombay  Artill.), 

908 
Cooke,   Miss  Barbara   (Duke 

Street,      Portland     Place), 

918 
Cochran,    Sen.,  Mr.    (late    of 

Halifax),  926 
Castle,  Miss  Catharine  Louisa 

(Bruton  Street),  928 
Cresswell,  Mrs.  Letitia,  (Duke 

Street,      Manchester 

Square),  944  ;  adopted  son, 

974 
Cambridge,  Rev.  Geo.  Owen 

(Twickenham),  982 
Cumberland,    Mrs.    (wife    of 

Capt.  C.  (R.N.)  ),  6002 
Caulfield,  Mrs.,  6012 
Clay,  Mr.  (Burton-on-Trent) , 

743 

T.  Cleaveland,  Mr.  Rich.  Francis 
(Royal  Mounted  Artillery), 
6060 

Chester,     Bishop     of,     6095 
(see  McDermot) 

Colson,  Mrs.  (Streatham  Com- 
mon), 6099 

T.  Cunningham,  Mr.  (Bedford 
Square),  6123 

Coorga,      The      Rajah       of, 

6127 

T.  Crawfurd,  Capt.  (late  of  Cal- 
cutta, 1 2th  Foot),  6138 

Cuppage,    Mrs.    (daughter  of 

Col.  Bruce),  6157 
T.  Currie,    Major    (54th    Foot), 
6206 

Colmans,   the  two  Miss   (St. 
Pancras),  D.  022  I 

Clarke,    Mrs.   (Swakeley),  D. 
035 


280 


APPENDIX 


Clarke,  Dr.  (New  Burlington 
Street),  D.  071,  D.  087, 
D.  096 

T.  Cockburne,  Revd.  Dr.  (son-in- 
law  to  Sir  Robert  Peele), 
D.  077,  D.  078 

Cockburne,  Mrs.,  D.  079, 
D.  082 

Clarke,  Mrs.  M.  A.  (Duke  of 
York's  Mistress),  D.  088 

Cockerell,  Mr.  Robert  (West- 
bourne  House,  Paddington) 
D.  093 

Cartwright,  Capt.  Edmund, 
D.  095 

Chippendale,  Mrs.,  D.  097 

Carne,  Mrs.,  D.  103 

Dresdale,  Mrs.  (Edin.),  32 
Daniel,  Mr.  (Foster  Lane),  35 
Dodd,  Mrs.  (Lime  Street),  67 
Dorival,    Miss    (Queen    Ann 

Street,  E.),  156 
Dubois,  Mrs.  (Ealing),  185 
Delaval,     Mr.     J.     B.     (St. 

Paul's  Churchyard),  189 
Dew,  Mr.  (Bristol),  211 
Dalton,      Mrs.      (Devonshire 

Street),  279 
Dalton,  Mr.,  281 
Donaldson,  Mr.,  300 
Dunbar,  Mr.  (ist  Foot),  324 
Dressing,  Mrs.  (Pimlico),  328 
Davis,  Mr.  (New  Road,  Jew- 
eller), 330 

D'Arcy,  Mr.  (Chester),  355 
Dyer,  Mr.  Jun.  (Apothecary, 

Bristol),  362 

Douglass,  Mr.,  Jr.  (Bedford 
Street,  Bedford  Square), 

373,  423 

Davis,  Major  (93rd),  390 
Davis,  Mr.  Wm.,  Jnr.  (Rupert 

Street,  Goodman's  Fields), 

450  ;    Mrs.,  472 
Davie,    Sir   John,  Bart.,  484 
Douglas,  Sir  Chas.  (Bart,  of 

Kelhead),  516 
Dunbar,  Miss  Louisa  (Banff), 

541 


Darby,    Mrs.    (Lime   Street) 

573 
Dashwood,   Master  Ed.    (son 

to  Mr.  D.  of  Calcutta),  608 
Dashwood,     Miss     Charlotte 

(Wooton),  610 
Dashwood,     Amelia,    Louisa 

and  Thomas  (Wooton),  611 
T.  Dongan,  John,  Esq.  (Welbeck 

Street),    634,    883  ;     Mrs., 

635,    659,    667,    775  ;    Dr. 

(brother),  991 
Devis,       Mrs.       (Devonshire 

Place),  643 
Douglas,       Mrs.       (Charlotte 

Street),     Fitzroy     Square, 

673 

Deare,  Mrs.,  674,  691 

Dixon,    Capt.    (Royal    Artil- 
lery), 695 
T.  Dowling,  Mr.  (Bristol),  717 

Darell,  Miss  (see  Nightin- 
gale) 

Durham,  Mr.  W.  H.  (Ber- 
mudas), 796 

Davis,  Col.  (25th  Light  Dra- 
goons), 824,  830 

Dudgeon,  Mr.,  835 

Dalton,    Mr.    (near    Preston, 

Lanes),  853 
T.  Dufrayer,     Mr.     (Dominica), 

873 
T.  Duncan,    Mr.     (Edin.),    906, 

son,  972 
T.  Dyke,  Lieut.-Col.  (Coldstream 

Guards),  936,  976 
T.  Drake,     Revd.    Mr.   (Amers- 

bury),  977 

Dick,    Mrs.    John    (Montagu 

Street,  Russell  Square),  997 

Dalling,  Miss  Ann  (daughter 

of  Lady  D.),  6016 
Davies,  Mrs.   (sen.)    (Leyton- 

stone),  6078 

Drummond,  Mrs.  (wife  of 
Revd.  Dr.  Hay  D.,  of  Had- 
leigh)  and  two  children, 
6080,  Square 

T.  Dunlop,  Mr.  (Temple),  6100  ; 
Mrs.,  6m 


APPENDIX 


281 


T.  Dursley,  Lord  (eldest  son  of 

Earl  Berkeley),  6114 
Drake,    Revd.     Mr.     (Amer- 

sham),  6166 
Drake,     Mr.     Thos.      (M.P., 

Amersham),  6177 
Douglass,  Mr.  Andrew  (son  of 

Sir  A.  S.  D.),  6179 
Drinkwater,  Mr.  John  (Irwell 

House,  Manchester),  6186 
Davis,    Miss   Helen    (Devon- 
shire Place),  6200 
Dowdall,   Capt.    (315!  Foot), 

6207 
T.  Drake,  Mr.  Chas.  (Amsterdam, 

brother  to  M.P.),  6211 
Dupuis,  Miss  Elizabeth  (Pim- 

lico),  D.  019 
Dormer,  Mrs.    (niece  to  Col. 

Kirkpatrick),  D.  044 
Doherty,    Mrs.    (daughter   of 

Mrs.  Holmes),  D.  047 

Evason,  Mrs.  (Streatham),  37 
Elmes,        Miss        (Titchfield 

Street),   155 

Eden,  Miss  (Newcastle),  167 
Edwards,  Mr.  J.  P.  (Bristol), 

176 
Evans,    Mrs.    (Duke    Street, 

Manchester  Square),   198 
Eye,  An,  227  (see  314) 
Elphinston,  Mr.  Jno.  (Edin.), 

288,  289 
Edwards,       Mr.       Nathaniel 

(Derby),  342 
Edridge,      Mrs.      (Marlboro' 

House,  Vauxhall),  385 
Evans,  Mrs.  (Hillingdon),  389 

(see  above) 
Ellison,  Mrs.,  391 
Elliott,  Mr.  (Royal  Artillery), 

553 

Evans,  Mrs.  (Grafton  Street, 
Fitzroy  Square),  732 

Eames,  Mrs.  John  (Pater- 
noster Row),  879 

Elken,  Mrs.  (Paddington), 
880 

Egerton,  Capt.,  6105 


Everest,  Mr.  Geo.  (Crick- 
howell,  Brecon),  6132 

Evans,  Miss  Mary  (Clapham)r 
6197 

Eastwick  (niece  to  Mrs. 
Kent),  D.  114 


Fancy,  as  Mrs.  Robinson,  6X 

74,  78,  82,  565 
Foster,  Mr.    (Oxford   Street)  > 

H5 
Fraser,  Mr.   (Bombay),   132  ; 

(Mr.  Stuart),   139 
French  Emigrant,  141 
Ford,  Mr.  (Windsor),  147 
Flude,  Miss  (Blackheath),  275 
Ferrers,  Miss  (Conduit  Street), 

286 
Fountain,    Mrs.    (Rochester),. 

340 
Farnham,  Edward,  Esq.,  347, 

348 
Foskett,    Mr.    (Gray's    Inn), 

379 
T.  French,     Capt.     (Coldstream 

Guards),  381 

Fownes,  Mr.  (Asia  E.  India- 
man),  398 

T.  Flint,  Miss  (Feversham),  418 
T.  Flint,   Major   (E.   I.    Army)^ 

425 

Feilding,  Mrs.  (daughter  of 
Lady  Charlotte  Finch),  433. 

Forth,  Mr.  (8th  King's  Dra- 
goons), 460 
T.  Falconet,  Mr.  (Clapham),  494 

Farquhar,  Mrs.  (Doctor's  Com- 
mons), 498  ;  Mr.,  500 

Fen  wick,  Mrs.,  538 

Fendall,  Miss  Harriet  (Great 
Portland  Street),  576 

Fitzgerald,  Lord  Edward 
(brother  to  D.  of  Leinster),, 

589 
T.  Fownes,  Mr.  J.  J.  (Temple), 

712 

Fletcher,  Mr.  (son  of  Sir  H. 
F.,  of  Cumberland),  756 ; 
Mrs.,  844 


282 


APPENDIX 


Fordyce,     Mr.     (E.     I.      Co. 

Artillery),  772 

Farmer,  Capt.,  798  (see  Bent) 
Fletcher,  Mr.  Jas.  (late  E.  I. 

Co.),  855,  938 
Forrester,   Master   Geo.    (son 

of  Mr.  and  Lady  Catharine 

Manners  F.),  929 
T.  Fletcher,      Mr.       (Gloucester 

Place),  964  ;   Mrs.,  965 
T.  Fryer,       Mr.       (Nottingham 

Place),  6021 
Fletcher,   Mr.    (Etherington), 

6027 
Finch,     Mrs.      (Shrewsbury), 

6107 
Folkestone,  Lord  (see  6182), 

6188,  6190 
Fitter,  Mr.  (Tavistock  Street, 

Bedford  Square),    6192 
Fletcher,    Mr.    Thos.    (Liver- 
pool), 6202 
Franklin,  Mrs.  (wife  of  Capt. 

F.,  E.  I.  Co.,  Navy),  6209 
T.  Fordyce,    Mr.    Chas.    (Cleve- 
land Row),  D.  oio  ;    Mrs., 

D.  012 
Fordyce,       Mr.       (Surveyor, 

Crown  Lands),  D.  016 


Goldsmid,    Louis    (Stamford 

Hill),  24,  aged  20  months 
Green,  Mr.    (Halifax,  Yorks), 

77 

Glover,  Miss,   116 

•Griffiths,  Lieut.  (Coombe 
House,  Teddington),  159 

Gillan,  Dr.  (China  Embassy), 
162 

Goss,  Mr.,  1 80 

Gilpin,  Master  Wm.  (Padding- 
ton),  207 

•Guy,    Mrs.    (Walcott   Place), 

212 

Guy,  Mr.  (Chief  Mate,  North- 
umberland E.  I.),  230 
Greer,  Mr.  (Ireland),  304 
Glennie,  Capt.  (Artillery  Co. 
and  Mincing  Lane),  360 


Gowland,       Mrs.       (Warren 

Street,     Fitzroy     Square), 

380 
Graham,      Col.      (Verdmont, 

N.  America),  399 
Gardner,  Miss,  461 
Gibbs,  Mrs.  (see  Knipe) 
Gordon,   Mrs.  Adam,  513 
Gibson,  Revd.  Mr.,  536 
Grant,  Mr.  (see  Abernethie) 
Gibbons,    Mr.    H.    O.    (Carey 

Street),  570 
T.  Gibbons,      Revd.     Mr.      (his 

brother),  571 
Garrow,  Mr.Wm.(Totteridge), 

579 
Greenley,      Miss      (Merthyr, 

Glam.),  590,  672 
Garrett,  Miss  Rebecca  (Stoke 

Newington  or  Colchester), 

603 

Gilman,  Miss  Joanne  (Isling- 
ton), 671 
Gillebaude,  Revd.  Mr.  (Spital 

Square),  696 
T.  Grant,  Mr.,  726 

Gayer,  Capt.  (67th  Foot),  745 
Gorman,    Miss    Maria    (New 

Broad  Street),  751 
Griff enhoofe,  Mr.  (Eton),  765 
Groves,  Mrs.,  776 
T.  Gale,      Mr.     Thos.      (Middy 

Lower  Brook  Street),  825, 

958 

Greenley,  Miss  Eliza  (Titley, 
near    Kingston,     Radnor) , 

845 
Garrow,  Miss  Eliza  (daughter 

of  the  Counsellor),  903 
Gosler,   Mrs.   (Upper  Norton 

Street),  952 
Graham,  Miss  (Chelsea  Coll.), 

953 
Godfrey,     Capt.     (Mounted 

Royal  Artillery),  6034 
Goodrich,  Miss  Mary,  6056 
T.  Grant,  Mr.  Geo.  (Berks)  6063 
Gilman,  Miss  (Ward  of  Mrs. 

Scott),  6081 
Gilman,  Miss  Emily,  6082 


APPENDIX 


283 


Gloucester,  H.R.H.  The  Duke 

of,  6189,  6203 
Gosling,       Mrs.        (Somerset 

Place),  D.  084,  D.   101 


Hodgitts,  Mr.  T.  W.  (Dud- 
ley), 10 

Harward,  Mr.  (Northend), 
42 

Handasyde,  Lieut. -Captain 
(Chatham  Barracks),  46 

Hemming,  Mr.,   135 

Hopkinson,  Benj.  (W.  Ind.), 

151 
Harmar,       Mrs.        (Hertford 

Street),  187 

T.  Harmar,  Mr.  Rich.,  205 
Hobhouse,   Mr.    Benj.    (near 

Bath),  225 
Harcourt,     Genl.     (Portland 

Place),  240 

Hardwick,  Mr.  (Oxford),  263 
Hervey,  Mr.  Will  (America), 

3i8 
Hotchkiss,  Mr.  Rich.  (Edin.), 

321 
Hornsby,  Mrs.  L.  (Cornhill), 

329 
Hoskins,  Mrs.  (Lime  Street), 

359 
Holman,  jun.,    Mr.  (Leyton- 

stone),  364,  365 
Harris,      Mrs.       (St.     Paul's 

Churchyard),  369  * 
Hereford,  The  Bishop  of,  375 
Hicks,     Mr.     (Bedfordshire), 

387  ;    Mrs.   (see  Miss  Bar- 
nard) 
Huxham,  Mr.  (?  Coll.,  Oxon), 

408 
Hilton,    Mr.    (Lanes.),    412; 

Mrs.,  675 

Holgate,  Mr.  (Lincoln),  467 
Herbert,  Mr.  Geo.    (ist  Life- 

guards),  460 
Hill,  Capt.,  471 
T.  Hughes,  Miss  (Bath),  496 
Headley,     Mr.      (Newcastle), 

497 


Hyde,  Mrs.  (Bengal),  daugh- 
ter of  Ly.  Francis  Sey- 
mour, 514 

Hyde,  Miss  (Maria,  daughter 
of  above),  515 

Henderson,  Mr.  Francis 
(Haling),  519;  Mrs.,  520, 

525 
Hagh,  Mr.  Joseph  (Halifax), 

548 
Home,       Mr.       (Bishopsgate 

Street),  557 
Haddeley,  Mr.,  566 
Holman,  Mr.  (Covent  Garden 

Theatre),  588 
Hingeston,    Mr.    (Cheapside), 

602 
Holmes,    Miss   Maria    (West- 

coombe  Park,  Greenwich), 

616 
Hobson,  Mr.  (East  Indiaman, 

Armiston),  627 
Hay,  Miss,  636 
Hawkins,    Miss   Mary    (Nass, 

near  Canterbury) ,  676,  833  ;, 

Miss  Eleanor,  841 
T.  Hopkins,  Mr.   (Greek  Street, 

Soho),  678,  684  ;  Mrs.,  677,. 

729  ;   Mr.,  693 
Harvey,  Mrs.,  689 
Hodson,  Sir  Robert,  690 
T.  Hill,  Mr.   (Edin.),  720 
T.  Hooker,  Revd.  Mr.  (Rotting- 

dean),  731 

T.  Huckell,  Mr.  (Ely  Place),  822. 
Henry,  Miss,  669 
Hadden,  Mr.  Jas.  (Aberdeen), 

850  ;   Mrs.,  851 
Holland,  Capt.,  R.N.,  865 
T.  Hope,   Mrs.     Wm.     (late    of 

Amsterdam),  889,  890,  934, 

949 

T.  Higginson,  Mr.,  912 

T.  Hobart,  Hon.  Geo.,  925,  933  ; 
Hon.  Mrs.,  927  (daughter  of 
Col.  McLean) 

T.  Hole,  Mr.  W.  (Surgeon,  Isling- 
ton), 947 

T.  Huggan,  Mrs.  (Scotland),  955, 
Hals,  Mrs.,  6001 


284 


APPENDIX 


Hammond,  Miss  (daughter  of 

Sir  Andrew  S.  H.),  6006 
T.  Hummell,  Mr.,  Jr.  (Musician), 

6020 
Hood,      Capt.      (3rd     Foot- 

guards,  grandson   to  Lord 

Hood),  6044 
Hammond,  Capt.,  R.N.  (son 

of  Sir  A.  H.),  6055,  6149 
T.  Holmes,  Revd.  Mr.  (Sub-Dean 

Chapel  Royal,  St.  James'), 

6059 

Headford,  Marquis  of,  6062 
Hart  well,    Mr.    (H  olden,    son 

of    Sir    F.    H.,     Somerset 

Place,  Strand),  6075,  D.  116 
T.  Hookham,  Mr.  Thos.  Jordan 

(Bond  Street),  6083,  6106 
T.  Hart,  Mr.  Geo.  (King's  Road, 

Fulham),  6097 
Higginson,  Miss  Martha  and 

Miss  Louisa  (Harley  Street), 

6101 
Hamilton,     Mr.     (71,     Mark 

Lane),  6158 

Hare,  Mr.  (Bristol),  6194 
Harding,     Mr.     (Tarn  worth), 

6198 

Holmes,    Mrs.    (Buly,    Wor- 
cestershire), D.  026 
Hannell,    Miss    Mary    (Pad- 

dington),  D.  041,  D.  042 
Hartwell,   Lady  (wife  of  Sir 

F.  H.),  D.  083 
Hook,     Mr.    William     (Red- 

cliffe  Parade,  Bristol),  6154 

Innes,  Col.  (E.  I.  Co.,  Madras 
Establishment),  6145 

Jourdan,  Maria  (aged  2),    33 
Jackson,  Mr.  (Chancery Lane), 

58,  70 
Jones,  Mr.  (Bristol),  86,  90  ; 

Mrs.,   174 
Jordan,  Mr.,   181 
Johnston,  Mrs.  (Queen  Anne 

Street),   193,   195 
Johnston,    Major    (E.  I.    Co. 

Corps  of  Engineers),  196 


Jones,  Mr.  (Place  House, 
Swansea),  200,  203,  215  (as 
Calvert  Jones,  6084,  T.) 

Jones,  Miss  (Gloucestershire) 
290 

Jones,   Mr.   Hy.    (New  Inn), 

343 
Jones,  Mr.   (Marshal    of    the 

King's  Bench),   351,    432  ; 

Mrs.  and  Mr.,  413. 
Jones,  Mrs.,  470 
Jelf,   Mr.   J.    (Banker,   Glou- 
cester), 612 
Jeffries,      Mrs.       (Basinghall 

Street),  656 
Jerningham,  Mr.  Geo.  (son  of 

Sir  Wm.),  682,   832,  after 

Hoppner 
Johnston,  Mrs.  (Chas.  Street, 

Grosvenor  Square),  713 
T.  Jamison,    Mr.    (East    India- 
man,  Armiston),  716 
Jordon,     Mrs.     (Barbadoes), 

737;    Mr.,  742 
Jenks,  Miss  (Welbeck  Street), 

820 
T.  Jackson,    Mr.    Robert    (Earl 

Street,    Blackf riars) ,    900  ; 

Mrs.,  939 
T.  Jackson,     Mr.     Wm.     Ward 

(Normanby,  Yorks),  6003 
Jones,  Mrs.   (wife    of    Capt.) 

(i8th      Light     Dragoons), 

6035 

Johnston,  Miss,  6052 
Jebb,  Mr.  (nephew  to  late  Sir 

Rich.  Jebb),  Scots   Greys, 

6152 
Jarman,  Mr.  Thos.  (Bristol), 

6193 
Jordan,        Misses        (Harley 

Street),  D.  092 
Kaly,    Mr.    Wm.     (Edgware 

Road),  8 
Kerby,  Mrs.  (Stafford  Street), 

9 
Keeble,   Miss  Jane  (ward  of 

John  Petrie),  64 
Kirton,   Mrs.    (near  Bristol), 


APPENDIX 


285 


Kelly,       Mr.       (Doorkeeper, 

House  of  Commons),  120 
King,  Miss  (Portman  Street), 

256,    410    (as  Mrs.   Kent), 

D.  037 

Knipe,  Mr.  Robert,  414 
Knight,  Revd.  Mr.  (Rector  of 

Tewkesbury  Abbey),  417 
T.  Kingscote,  Mrs.  (near  Leather- 

head),  421 
Knipe,  Miss  (Limpsfield),  436, 

512  (afterwards  Mrs.  Gibbsj 
Keppel,  Col.,  437 
Keppel,     Miss    Charlotte 

Augusta  (Pall  Mall),  505  ; 

Miss,  605 

Kershaw,  Mr.  (Halifax),  532 
Kelly,    Capt.     (24th     Foot), 

537 
Kensington,  Mr.  Henry  (Lorn- 

bard  Street),  593 
Knox,    Miss    Letitia     (Soho 

Square),  618,  628 
Keighly,  Mr.  (Hertford  Street, 

Mayfair),  730;    Mrs.,  770 
Kirkpatrick,     Major     Jas. 

Achill    (E.    I.    Co.    Army), 

846,  854 
T.  Kelly,  Master  Thos.,  870 

Kemble,  John,  954 
T.  Kennedy,  Hon.  Robert,  6043 
Kirkpatrick,     Miss     Barbara 

(Holydale    House,    Kent), 

6061,  6088 
Kay,  Mr.  Joseph  (Architect), 


Kellott,  the  late  Mrs.  (Cork), 

6187 
T.  Kirkpatrick,  Miss  Clementina 

and  Miss  Barbara,  D.  030 
Kirkpatrick,  Miss  Eliza  and 

Miss  Julia,  D.  031 
Kent,  Mrs.,  D.  037 
King,   Miss  Emily  (sister  to 

above),  D.  038 
Kirkwall,  Viscount,  D.   113 
Kirkwall,  his  two  sons,  D.  146 

Lucina,Mrs.  (Newman  Street), 
104  ;    Mr.,   107 


Lagemann,       Mr.       William 

(Bristol),  123 
Locket,   Mr.    (Surrey  Street), 

125 

Legge,  Miss,   133 
Luard,     Mr.     (Earl     Talbot, 

East     Indiaman),      144, 
Luard,     Captain    (Georgiana 

East  India  Packet),  374 
Lockart,     Mr.    Geo.    (Surrey 

Street),  164 
Leon,  Mrs.,  182 
Le  Rich,  Mr.,  191 
Lindsele,      Mrs.       (Wimpole 

Street),  208 
Lynn,  Mr.,  232 
Lovidge,  Mr.,  265 
Lambton,  Mr.  (Durham),  334 
Lambton,    Master    (Berkeley 

Square),  322 

Long,  Mrs.  (Teddington),  337 
Loveden,  Capt.   (Berks  Mili- 
tia),   366 ;     Mrs.,    370    (as 

Mead),  878 
Lowndes,   Mr.    (Hampstead), 

382>  459 
T.  Lorimer,       Miss       Margaret 

(Strand),  401 
Lambton,  Miss  Fanny  (Charl- 

ton,  near  Greenwich),  429 
Legh,  Mr.  Wm.,  485 
Laurence,     Col.      (American 

Light  Infantry),  501  (done 

from  Turnbull's  picture) 
Lillington  (see  Spooner) 
Levington,    Mr.    Robert    (N. 

Y.),  510 
Lisle,     Miss    (niece   to    Lord 

Cholmondeley) ,  555 
Lodge,  Miss  Jane,  569 
Lome,  Marquis  of  (his  eye), 

572 
Lemon,    Mr.    Wm.    (son    to 

Sir     W.     L.),     606.     Shot 

himself  next  March 
Laurens,  late  Governor,  665 
Leighton,     Mr.     (Brompton) , 

739  ;   Mrs.,  773 
Livien,       Mr.       (Fenchurch 

Street),  749 


286 


APPENDIX 


Levis,  Mrs.  (Jamaica)  (or 
Levian),  761 

Leake,  Mr.  (Guildford  Street), 
849 

Little,  Col.  (E.  I.  Co.,  Army), 

861 
T.  Lucas,  Mr.  (Dominica),  872 

Langham,     Miss     Charlotte 
(Roehampton),  daughter  of 
Lady  L.,  882 

T.  Littledale.Mr.  Joseph  (Harley 
Street),  a  writer  to  Bengal, 
893 

T.  Lettsom,  Mr.  Sam  (son  of  Dr. 
L.),  902 

Lushington,Miss  Mary  (daugh- 
ter of  SirS.  L.),  916,  931 

Littledale,  Mr.  Chas.  (Harley 
Street),  921 

Lushington,      Miss      Amelia 
(daughter  of  Sir  S.  L.),  922 
T.  Leys,  Mr.  (Strand),  923 

Lutyens,  Mr.  N.  L.  (Temple), 

932 
T.  Langford,  Capt.  (R.  N.),  943 

Littledale,  Mr.,  Senr.  (Wim- 
pole  Street),  (The  Father  of 
893,  921),  956 

Littledale,  Miss  Hannah  (Har- 
ley Street),  6024 

Langford,     Mrs.     Geo.     (wife 

of  Capt.  L.,  R.N.),  6032 
T.  Laurie,    Capt.  Robert,  R.N., 
6070 

Linton,  Mrs.,  6077 

Lindergrun,  Mr.  John  (Ports- 
mouth), 6090 

T.  Lambert,   Mr.   (Lamb's  Con- 
duit Street),  6093 
T.  Leather,      Sir     George     (29, 
Manchester  Street),  6094 

Leake,  Mr.  Robert  (i4th 
Foot),  6163 

Landroth,  Mr.  (of  Grenada), 
for  Mr.  Arbuthnot,  6165 

Lushington,  Sir  Stephen,  the 
late,  6173,  6174,  6183 

Lushington,  Sir  Henry  (Har- 
ley Street,  son  of  Sir  S.  L.), 
6178 


Luard,  Mrs.  (wife  of  Col.  L., 
of  the  Georgiana  E.  I. 
Packet),  D.  018 

Lindsell,  Mr.  Robert,  D.  094 


Magdalen  (after  Sir  T.  L.),  20 

More,  Mr.,  27 

More,  Miss  (New  Street, 
Covent  Garden),  38 

Maitland,  Mr.  W.  (Fenchurch 
Street),  63 

Martin,  Mr.  (Bristol),  88,  130 

Monk,  Mr.  (Attorney- General, 
Canada),  169,  171 

Maitland,  Mr.  W.  (Gough 
Square),  218 

Movin,  Mr.  (Geo.  Street,  St. 
James's  Square),  222 

Maitland-Maitland,  Mr.  (Lon- 
don Street,  City),  228  (Sur- 
geon, Adelphi),  526 

Maitland,  Mr.  David  (Fen- 
church  Street),  234 

Montague,  Mrs.  (Bryanston 
Street),  as  Juliet  with 
dagger,  235 

Mundy,  Miss  (Portland 
Street),  272 

Millington,  Mr.  (Chelsea),  291; 
Mrs.,  311 

Maude,  Hon.  Mr.  (Berkeley 
Square),  296 

Mendhurst,   Miss  (Brighton), 

327 
Martinius,     Mr.     (Merchant, 

Green  Lettice  Lane),  338  ; 

Mrs.,  367 

T,  Morrogh,  Mr.  (America),  341 
Morrison,  General  (Chiswick), 

Manby      (or     Manley),     Mr. 

(Gray's  Inn),  357 
Mann,  Mr.  Cornelius  (Royal 

Artillery),  376,  397 
Malcolm,  Mrs.  (see  Stopford) 
Mathias,  Mr.  H.,  422 
T.  Martelli,    Mr.    H.    (Chancery 

Lane)  458 
Morell,  Mrs.,  475 


APPENDIX 


287 


Meyrick,  Mrs.,  477 

Mansfield,  Mr.  (Lincoln),  480 

Martin,   Miss  Mary   (Maryle- 

bone  New  Road),  502 
T.  Mann,    Capt.    Gotha    (Royal 

Artillery),  518,  6089,  397 
T.  Munden,  Mr.  (Covent  Garden 
Theatre),  539 

Mansfield.Mrs. (Leicester),  562 

Martyr,  Mr.  Joseph  (Black- 
heath),  577 

More,  Miss  Louisa  (Linley, 
Salop),  596 

Moultrie,  Mrs.  (Great  Port- 
land Street),  614 ;  late 
Governor,  629 

Moresby,  Miss,  619 

Morris,  Mrs.  and  Capt.  (Char- 
lotte Street),  632 

Missing,  Mrs.  (nr.  Chichester), 

637 
Meek,  Mr.  (Basinghall  Street), 

688 
Middleton,     Mrs.     (Crowfield 

Park,  Suffolk),  701 
Moore,  Mrs.  (Brooke  Street), 

707 
March,  Mr.  (Salt  Hill,  Berks), 

74i 

T.  Mordaunt,    Master    (Leaden- 
hall  Street,  E.  I.  Cadet),  758 

Meadows,  Capt.  (East  India- 
man),  790 

Metger,  Mr.  (Altona),  792 

Marsh,  Mr.  (Stock  Exchange), 

817 

T.  Miller,    Mr.    (America),    821, 
827 

Mortimer,  Mrs.   (Upper  Nor- 
ton Street),  831,  886 
T.  Mead,  Major  Hon.  John  (son 
of  Earl  of  Clanwilliam) ,  874 

Mead,  Mrs.  (see  Loveden) 

Miller,  late  Mrs.  (wife  of 
Capt.  M.),  940 

Montague,  Mrs.  (daughter  of 
Sir  Wm.  Rush),  980  ;   Mas- 
ter, 983  pg 
T.  Mainwaring,     Mr.     (Jeweller, 
Chancery  Lane),  990 


T.  Murray,  Mr.  (Rotterdam) , 
6040,  6 no 

Massey,  Mrs.  (now  living 
with  Marquis  of  Head- 
fort),  6058 

Morley,  Mr.  (i6th  Light 
Dragoons),  6115,  6133 

Martyr,  Mr.  Joseph  (Green- 
wich), 6121 

Mills,  Capt.  (i4th  Light  Dra- 
goons), 6167 

Mansell,  Mrs.  (Spring  Street, 
Baker  Street),  6170 

Mowbray,  Mr.  Geo.  (brother 
of  Mrs.  Geo.  Smith),  6191 

Morincourt,  Mr.  R.  N.  (Green 
wich),  6196 

Mulgrave,  Lord,  D.  013 

Mohammed  Sheik,  D.  033 

Morley,  Mrs.,  D.  065 

McDonald  (43rd),  Mr.,  249 

Mackenzie,  Col.  (New  Caval 
ry),  299 

Mackenzie,  Mr.  Colin  (Edin.), 
305 

Mackenzie,     Mr.     Alexander 

(N.  Y.),  335 

T.  MacEvoy,  Miss  (Manchester 
Street),  640;  Mr.  (Santa 
Cruz),  650,  651 

T.  Mackenzie,    Mr.  Alex  (Ross- 
shire),  899 
T.  Mackenzie,     Mr.     Wm.     (as 

Surgeon  to  Madras),  6046 
T.  Mackenzie,      Mr.       Kenneth 

(Ross-shire,  N.B.),  6067 
T.  McDermot,  Master,  6098 

McGee,  the  late  Mr.,  6151 


Newland,      Abraham      (The 

Bank),  62 
Newman,  Mr.  (Henley  Park, 

Surrey),  204 
Nichols,    Mr.     (Surgeon, 

Brompton),  319,  489  ;  Mrs. 

325 
T.  Ness,  'Mr.,  392 

Nodes,  Mr.  (Bond  Street),  441 
T.  Nightingale,  Col.,  343,  757 


288 


APPENDIX 


Niblett,  late  Mr.  (Gloster), 
625 

Newman,  Revd.  Mr.  (Ips- 
wich), 668 

Nightingale,  Mrs.  (daughter 
to  Sir  Lionel  Darrell),  762 

Nard  Comte  de  (Emigre),  781 

Norman,  Master  Chas.  (son 
of  Lady  Eliza  N.,  and 
grandson  to  Duchess  of 
Rutland,  809 

Nussey,     Mr.     (Woodbridge, 

Ipswich),  847 

T.  Neilson,  Mr.  (Hunter  Street, 
Brunswick  Square),  6086, 
D.  060 


Osbaldeston,      Mr.      (Spring. 

field  Grove,   Sussex),   377 
T.  Oliphant,  Mr.   (Keston,  near 
Hounslow),  6050 

Oswald,     Miss     (near     Edin- 
burgh), 6113 

Oliphant,   Mrs.,   eye  of,    size 
of  a  shilling,  6148 

O'Callaghan,  Mr.,  6164 


Prate,  Mr.,  34 

Parker,    Master    Jno.    (aged 

I0)>  47 
Parker,  Mr.    Jno.    (Ireland), 

48 
Petrie,  old  Mrs.  (Soho  Square), 

52 

Petrie,  Major  (72nd),  66 
Paine,  Mr.  (Bristol),  87 
Platt,  Mr.  (Bristol),  90 
Powell,  Master,  165 
Parker,  Capt.  John,  186. 
Parker,  Mr.  Jno.  (St.  Paul's 

Churchyard),  213 
Peters,  Dr.  (Pimlico),  239 
Peters,    Mr.    Birdsey    (Pim- 
lico), 242 

Pange,  Marchioness  of  (Emi- 
gre), 252 

Parker,    Mrs.    (Green    Park, 
Youghal),  255  ;    Mr.,  369 


Priestley,  Mrs.  (Bishopsgate 
Street),  258 

Parker,  Mrs.  (Halifax),  282 

Passingham,  Capt.  R.  (Ches- 
ter), 331,  349 

T.  Parker,  Mr.  Jno.  (Attorney, 
Halifax),  339 

Pattenson,  Mr.  (Cumber- 
land), 356 

Pepys,  Mr.  Wm.  (Eton  Coll.), 
358 

Pepys,  Mr.  Chas.  (Wimpole 
Street),  384 

Pheazant,  Mr.  (Sheffield),  411 

Parker,  Miss  (Croomes  Hill, 
Greenwich),  424;  Miss 
Sarah,  463  (see  Bingham) 

Passingham,  Mrs.  Robert 
(Chester),  438 

Pomeroy,  Hon.  Geo.,  439 

Payne,  Mr.  Jno.  (Richmond), 
nephew  to  Dowager  Lady 
Northampton,  517 

Pearson,  Miss  Hannah(daugh- 
ter  of  Sir  R.  P.,  Greenwich 
Hospital),  568,  907 

Pearson,  Miss  Mary  (daughter 
of  Sir  R.  P.,  Greenwich 
Hospital),  575 

Pattenson,  Mr.  C.  (Cumber- 
land), 584 

T.  Phipps,  Mr.  Jno.  Wathen 
(Cork  Street),  586,  803; 
Mrs.  Eliza,  794,  D.  no 

Petre,  Miss  (Shrewsbury),  591 

Panting,  Mr.  F.  (Shrewsbury), 

598 

T.  Parker,  Mr.  Oxley  (Chelms- 
ford),  60 1 

Peyton,  Mrs.  (Edin.),  658 

Priest,  Miss  (Bristol),  666 

Pearson,  Mr.  (Surgeon,  Arm- 
iston,  East  Indiaman),  714 

Prajer,  Miss  Harriet  (A  Jew- 
ess), 724 

Pearce,  Miss  Eliza  (see 
Groves) 

Palmer,  Mr.,  795 

Page,  Mr.  (Great  St.  Helens), 
80 1 


APPENDIX 


289 


Payne,  Mrs.  (Wigmore  Street)  , 

810,  856 
Philips,  Mr.,  (father  of  Major 

Passingham),  816 
T.  Peacock,     Mr.     Sandford 

(Devonshire    Street),    840; 
Mrs.  Geo.  (Rachel),  842 
Paul  Mr.    J.    Dean   (Banker, 

Strand),  863 
T.  Pole,     Mr.     Peter     (Bedford 

Square),  891 
T.  Pearson,  Mr.,  901 
T.  Pearson,  Mr.  (Bombay),  905, 

6057 

Phipps,  Miss  Georgiana,  as  a 
Cherub  (Cork  Street),  951, 
969 

Parker,  Vice-  Admiral  (the  late 

Sir    Wm.    Parker,    Bart.), 

6008,  6011  ;  Lady  P.,  6010 

Peacock,  Mrs.  Geo.  (daughter 

of  Lady  Dalling),  6015 
Pearson,  Capt.  (R.N.,  son  to 
late  Sir  Rich.  P.),  6205,  6108 
Plowden,    Servant    to    Mr., 


Paxton,  Mr.  Archibald  (Buck- 

ingham     Street,     Strand)  , 

6139 
Pordon,  Miss  (Berners  Street), 

for  Mr.  Kay,  6172 
Peters,    Mr.    Birdsey    (New 

York),  D.  on 
Pole,    Hon.    Mrs.     (Hanover 

Street),  D.  014 
Phipps,     Miss     Anne     (Cork 

Street),  D.  021,  D.  090 
Phipps,  Hon.  Col.    Edmund 

(brother     to     Lord     Mul- 

grave),  D.  036 
Phipps,  Watkins  (Godson  to 

W.    Wood),    see    D.    090, 

D.    112 

Phipps,  Mr.  D.,  120 
Pott,     Miss    (Castle    Street, 
South  war  k),  D.  123 


Rogers,  Mrs.  (Bristol),  94 
Ross,  Capt.,  1 08 


Redwood,      Mr.      (Charlotte 

Street,     Portland     Place), 
109 ;  Mrs.,  112 
Ross,     Mr.     (Crown     Street, 

Westminster),     118,     121  ; 

Mrs.,  128 

Raymond,  Mr.  Stephen  (Pot- 
ton,  Beds),  1 60 
Redwood,     Mr.     (Dragoons) , 

219 
Russell     Copy     after     (Miss 

Knight  of  Brompton),  220 
Roberts,  Capt.  Fr.   (Frigate, 

Success),  221 

Reeves,  Miss  (Hadley),  262 
Robins,   Miss  (near  Oxford), 

298 
T.  Rawlins,       Miss       (Portland 

Street),  301 

Reeve,  Mr.    (Leeds),  307,  308 
Russell,    Lady   Will    (2    eyes 

of),  314 
Ramus,  Mrs.  (Baker  Street), 

386 

Riggs,Mr.  (Russell  Place), 405, 
Rimington,  Mrs.  (Southend), 

406  ;  Mr.  Chas.,  (Southgate), 

Middlesex),  486 
Rawden,  Miss  Eliz.  (niece  to 

Earl  Moira)  (aged  3),  415 
Roberton,    Capt.    Peter    (8th 

Foot),  419 
Ricketts,        Mr.        (Bombay 

Marine),  430,  662 
Rush,  Mrs.  (Wimbledon),  445 
Rawden,  Col.  Geo.,  556 
Russell,  Mr.  Robert  (Exeter), 

455 
Richardson,     Mr.     Hy.,     Jr. 

(Derby),  544  ;   Mrs.,  545 
Robinson,      Mrs.      (Bullwell, 

Notts.),  578,  580,  Mr.,  661 
Rickards,       Miss      Maynard 

(Abergavenny),  587 
Robinson,  Mrs.  (Nottingham), 

594 
Ramsay,  Mr.  (Sec.,  E.  I.  Co.), 

595 

Rooke,  Mrs.  (late  of  Chelten- 
ham), 615 

U 


290 


APPENDIX 


T.  Rush,   Sir  Wm.    (Pall  Mall), 

624,  973 
Rolleston,  Master  Chas.  (Pim- 

lico),  655 

Ricketts,  Miss  Eliza,  698 
Russell,  Miss  (Exeter),  733 
Ross,    Old   Mr.    (Streatham), 

755 
Rutland,    Dowager    Duchess 

of,  768 
Rycroft,        Lady        (Clarges 

Street),  774 
Riddell,Mr.  Ralph,778  (friend 

of  Jerningham),  862 
Rand,  Capt.  (E.  I.  Co.,  Army), 

838 
T.  Roche,  Mr.  (Cork),  867 

Robinson,  Mr.   (Manchester), 

881 
T.  Robertson,  Capt.  (after    Pli- 

mer),  914 

T.  Radcliffe,  Revd.  Mr.   (Lime- 
house),  942 
T.  Rowles,    Capt.     (E.    I.    Co., 

Cavalry),  975 

T.  Riddell,   Mr.   Ralph   (North- 
umberland), 994 
T.  Ramsey,  Col.  Wm.  (ist  Cey- 
lon Regt.),  999 
Ridley,  Mr.  (son  of  Sir  M.  R., 

Bart.),  6004 

T.  Ryves,     Capt.      (8th     Light 
Dragoons),     6017 ;       wife, 
6096 
Rooke,     Miss    (Cheltenham) , 

6041 

Rockox,  Nicholas,  after  Ru- 
bens     (aged     64),      dated 
1624,  6065 
T.  Rolfe,  Mr.  Edmund  (Norfolk), 

6068 
Ray,  Miss  (as  an  Interesting 

Story),  6160 
Rowley,    late  Capt.  G.  (E.  I. 

Co.,  Army),  6161 
Rawlinson,  Mrs.  (Mistress  of 
Lord     Folkestone) ,     6182, 
D.   104 

Rolls,    Mrs.    (Paragon    Kent 
Road),  D.  055 


Sutherland,  Capt.,  21 
Sainsbury,      Miss      (Ludgate 

Hill),  36,  28 
Shakespeare,  43 
Summer,    Jas.    (Hampstead), 

50  Mrs.,  73 

Steward,  Lieut,  (jist  Foot), 51 
Smith,  Mrs.  (Duchess  Street), 

53,  Master  G.,  56 
Scott,  Mrs.  (Forge  Longtown, 

Cumberland),  54 
Seaton,  Master  Andrew,  60 
Small,  Col.  (84th  Foot),  65, 

276,  448,  377,  when  Major- 

General 
Seton,       Mrs.       (Devonshire 

Place),     68 ;      Miss,     371  ; 

Miss  Kitty,  563 
Stevens,  Mrs.  Jas.   (Bristol), 

97 

Spence,  Mr.  (E.  I.  Co.),  113 
Slaney,  Moreton,  Esq.  (Salop), 

119 

Shirley,  Mr.,   136 
Saunders,  Mr.  (Taunton),  137 
Smith,  Mrs.,   138 
Skeffington,  Mr.  (Skeffmgton, 

Leicester),  142 
Stripling,  Mr.  (Jeweller,  Lich- 

field),   157 
Stevens,  Mr.   Wm.   (Bristol), 

173 

Shirreff,  Mr.,  206,  216 

Sydenham,  Mr.  (Frith  Street, 
Soho),  214  ;  Mrs.,  559 

Spencer,  Countess,  229 

Stevens,  Mr.  (Shrewsbury), 
231 

Stock,  Miss  (Islington),  237 

Savage,  Miss  (Pimlico),  241 

Sparkes,  Miss  Julia  (Black- 
heath),  250 

Sparkes,  Master  Hy.,  251 

Sparkes,  Mr.,  253 

Smith,  Mr.  John  (Camber- 
well),  260,  268 

Sparkes,  Mr.  Joseph  (Essex 
Street,  Strand),  267,  292 

Sparkes,  Miss  (Blackheath), 
270 


APPENDIX 


291 


Sparkes,  Mr.  John  (Black- 
heath),  274 

Salmon,  Mr.  (Barnes),  297 

Seton,  Mr.  Daniel  (Devon- 
shire Place),  315 

Slaney,  Mr.  Plowden  (Salop) , 

323 

Smith,  Mr.  (Berks),  383 

Stuart,  Col.  Jno.  (2nd  Foot- 
guards),  402,  434  (as  Sir 
John,  K.B.),  6180 

Smith,  Miss,  464 

Sperling,  Revd.  Jas.,  465 

Schneiders,  Miss  (Southgate), 
469 

Savage,  Mr.,  476 

Smith,  Mr.  Geo.  (Saville  Row) , 
487 

Sawyer,  Miss  Frances  (Hey- 
wood  House,  Bucks),  492, 

493 
Stopford,        Master       Thos. 

(Sloane  Street),  503  ;  Mrs., 

507,  560 
Spooner,  Mr.  (Warwickshire), 

506,        Lillington       after- 
wards 
Self.Mrs.   Jas.    (Trowbridge), 

522,  531 
Saxe,  Mr. ,540 
Sydenham  Revd.  Humphrey, 

554 

Shute,    Mr.    (Frenchay,   near 

^  Bristol),  574 

T  Salisbury,  Mr.  Edward  (Lan- 
caster), 583 
T.  Starkey,     Revd.     Mr.,     597 

Service,  Miss  (Finsbury 
Square),  60 

Shepherd,  Mrs.  (late  of  Leeds), 
607 

Swan,  Mr.  (Belfast),  621 

Salisbury,  Mr.  Henry  (Man- 
chester), 649 

Schneiders,  Miss  (Southgate), 
679 

Silvester,    Miss    (Dominica), 

704. 

T.  Slaughter,    Mr.    (Worcester- 
shire), 725,  736 


Salisbury,  Mr.  (Dorsetshire), 

734 
T.  Saltau,  Mr.  Geo.  (Green  Let- 

tice  Lane),   735 
Scott,  Mrs.,  767 
Sorell,  Miss,  771 
T.  Slack,  Mr.  Thos.    (Braywick, 
Bucks),    783,    946 ;     wife, 
1000 

Shepherd,    Mr.   Thos.    (Cloth 
Factor) ,  (Basinghall  Street) , 

805 

Shuttleworth,  Mr.  (Sun  Tav- 
ern Fields),  807 
T.  Sykes,  Capt.  (R.N.),  815 
Smith,       Miss        (demi-dark 
daughter  of  Mr.  Alexander, 
of  Calcutta),  819 
T.     Shepherd,     Master    Joseph 

(Leeds),  858 

T.  Stuart,    Mr.    Jas.    (Solicitor- 
General,  Halifax),  904 
T.  Stuart,  Mr.  (Alderston,  Had- 

dington,  Scot.),  915 
T.  Snell,  Revd.  Thos.,  919,  6102 
T.  Stavis,   Mr.    (Great  Abshott, 
Titchfield,      Hants),     950, 
6018 
Sowle,  Miss  Sarah  (Ward  of 

Dr.  Cherson),  968 
Sebright,       Mrs.      Marianne 
(Hertford  Street,  Mayfair), 
984,  6124,  6128 
Seward,  Miss  Elizabeth  (first 
cousin    of     Kitty    Beach- 
croft),  987  (afterwards  Mrs. 
Mathew  B.  6009 
Skreen,  Mr.,  friend  of,  988 
Stopford,  Miss  (Kensington), 

see  Wyatt 
T.  Shuttleworth,   Mr.  Geo.   Ed. 

(Austin  Friars),  834,  993 
Sydenham,  Mr.  Thos.  (Bond 

Street),  996 

Slack,    Mrs.    Thos.    (Blooms- 
bury  Square),  6000 
Squires,  Mr.  (brother  of  Mrs. 

Dongan),  6007 

T.  Stock,    Mr.    Wm.    (Redcliffe 
Parade,  Bristol),  6014 
u  * 


292 


APPENDIX 


Seward,  Mrs.  (Milman  Street, 
Bedford  Row),  mother-in- 
law  to  Col.  Beachcroft, 
6029 

T.  Sheddon,  Mr.  Geo.  (Bedford 

Square),  6033  ;    wife,  6039 

T.  Sheddon,    Mr.   Wm.    (Gower 

Street),  6037 
T.  Stirling,  Capt.  (Foot-guards), 

6038 

T.  Sheddon,  Mr.  Bridger  (Gower 
Street),    brother    of  6033, 
6040 
T.  Scott,  Master  Hy.  (147,  Lead- 

enhall  Street),  6042 
T.  Smith,  Mr.  Jas.  (Baker  Street, 
late  of  Bombay),  6045;  wife 
6066 

T.  Samson,     Mrs.     (Blackheath, 

wife  of  Capt.   S.,   of   Earl 

St.  Vincent,  E.  I.  M.,  Capt., 

6204),  6049 

Smith,  Mrs.  J.  J.  (born  Miss 

Wiple),  6051 

Slack,  the  late  Mrs.   (Brays- 
wick),  6053 
T.  Stuart,      Major-General     Sir 

John,  6073 

Smith,     Mrs.     (Castle     Ban- 
House,  near  Ealing),  6079 
T.  Slack,  Mr.  Senr.  (Bloomsbury 

Square),  6085 
Savage,     Miss      (Weymouth 

Street),  6109 
Sebright,       Miss       (Hertford 

Street,  Mayfair),  6116 
Smith,  Miss,  6126 
Stowell,     Capt.     (2nd     Life- 
guards), 6150 

Shuttleworth,   Mr.  John   (St. 
George's   E.,   son  of  807), 
6156 
Simpson,  Miss  Sophia  (John 

Street),  6169 
T.  Sampson,    Capt.    (E.    I.  Co., 

Navy),  6204 
Sheane,  Capt.,  6210 
Simmons,  Mrs.,  D.  046 
Stancliffe,  Mr.  John  (Temple 
and    Caius    Coll.),    D.  029 


Stuart,  Miss  -(Sloane  Street), 

D.  043 

St.  Aubyn,  Lady,  D.,  105 
Stanley,    the   late    Sir    John 

(Cheshire),  D.   107 


Traile,  Mr.   (Edin.),  57 

Townsend,  Meredith  (Fair- 
ford),  79,  114 

Thistle,  Mr.  (Bristol),  93 

Thomas,  Mr.  Josiah  (Bristol), 
98,  103  ;  Mrs.,  99 

Taunton,  a  Mr.,  of,  no 

Thornton,  Miss  Ann  (Beau- 
mount  Street),  122 

Tickell,  Mrs.,  134 

Thornton,  Ed.,  Esq.  (Grenada 
W.  I.),  149,  153 

Templer,  Capt.  Hy.  (Prince's 
Light  Dragoons),  150 

Tebbs,Mr.  (Paternoster Row), 
1 68 

Truman,  Miss  (Pimlico),  246 

Townley,  Mr.,  271 

Treves,  Mrs.  (Calcutta),  302, 

303 

Tremenheere,  Miss  (Jermyn 
Street),  313  ;  Mr.,  320 

Thomas,  Mrs.  (Fulham),  427 

Tayler,  Miss,  482 

Trundell,  Miss,  585 

Tarleton,  Hon.  Major-Genl., 
630,  646  ;  Mr.  Thos.,  645, 
6030 

Tebbs,  Mr.  (Bond  Street),  642. 

Topham,  Mrs.  (Chertsey),  664 

Trumbell  (M.  P.),  see  Laurens 
T.  Tufton,  Hon.  Mr.,  68 1,  699 

Taylor,  Capt.  (7th  Dragoons)  > 

750 

Taylor,  Mrs.    (Fulham),    799 
Turner,    Mrs.     (Queenhithe) ,. 

818 

T.  Thoyts,  Mr.  John  (Blues),  894 
Taswall,  Eye  of  Mr.  (Madras. 

Civil  Establishment),  966 
Tarleton,  Capt.,  Thos.  6030 
Thompson,     Miss     (Knights- 
bridge),  6047 


APPENDIX 


293 


T.  Thomas,   Mr.  Chas.  (Earl  St. 

Vincent,  E.  I.  M.),  6054 
T.  Thompson,  Mr.  (Dentist,  Geo. 

Street,    Hanover    Square), 

6112 
Turner,  Mr.  Chas.  (Jeweller, 

Holies  Street,  Bond  Street), 

6147  ;   Mrs.,  6168 
Tupper,  Mr.  (New  Burlington 

Street),  6199 
Thomas,  Little  Mary  Ann,  of 

Bristol,  D.  04 

Unknown,  129,  354,  451,  456, 
478,  859,  887,  897,  981 

Usborne,  Mrs.  (Finsbury 
Square),  350 

Vaux,   Jno.   (Austin    Friars), 

709 
Vestal,  A,  at  the  altar,  913 

Wharton,  Miss  Eliz.  and  Miss 

Margaret  (Yorks),  416 
Wallis,  Miss  (Covent  Garden 

Theatre),  420 
Williams,  Mrs.  Jas.  (Bedford 

Square),  426 
Windsor,  Mr.,  446 
Warrell,  Miss  H.,  452 
Watson,  Miss  (Sloane  Street), 

453.  49i 

Waller,  Revd.,  466 
Ware,     Mrs.     (New     Bridge 

Street),  428 
T.  Williams,  Mr.  Robt.   (Lamb's 

Conduit    Street),  481  ;  Mr. 

W.      Senior,     490 ;      Miss 

Grace,   581 
Whyatt,    Mr.    (Queen    Anne 

Street),  504 
Watts,  Miss  (afterwards  Mrs. 

Gordon),  513,  524 
Wright,  Mr.  (Merchant,  Hull), 

52i 
Worswick,    Mr.    (Lancaster), 

528 
Wistinghausen,     Mr.      (Bow 

Lane),    530;     Master   Ed- 
mund), 6092 


Wells,  Mr.  Jas.,  546 

Welstead,  Mr.  Chas.  (Custom 
House),  558 

Whingate,  Miss  Kitty  (Grand- 
daughter to  Ly.  Franklin), 

564 
Watson,    Miss    (Faulkbourne 

Hall,   Essex),  582 
Watson,    Mr.    (King's    Dra- 
goon Guards),  599 
T.  Wright,  Mr.  Geo.   (Rochford 

Hall,  Essex),  620 
T.  Williams,     William     (Warley 
E.  I.  Navy),  647,  8n,  970 
Worswick,    Mr.    Rich.  (Lan- 
caster), 648 
Wausey,     Miss     (Lothbury), 

654 
Weston,        Capt.        (H.M.S. 

Tamar),  660 
Welsh,  Mr.  Wm.  (Fenchurch 

Street),  670 
T.  Ward,     Col.      (Foot-guards), 

683 
Wightman,      Mr.      (Temple), 

719  ;    Mrs.,  722 

T.  Wilkinson,    Mr.    Thos.    (Dur- 
ham), 721  ;    Mrs.,  746 
Walker,  Mrs.  (Teabroker,  Old 

Broad  Street),  753 
T.  Williams,  Mr.  Locker  (son  to 
Lieut. -Governor  of  Green- 
wich) (8th  Light  Dragoons), 

763.  785 
T.  Way,      Late     Mr.      Gregory 

(Richmond     Green),     779, 

791,    866 ;    Master    Lewis, 

780,    875 ;    Mrs.,  898 
Worsley,        Miss      Charlotte 

(daughter  of  Lady  W.  and 

Co.),  800.     Square 
Wathen,    Mr.     (Kensington), 

802 

Williams,  Miss,  804 
T.  Williams,  Mr.  Jas.   (Bedford 

Square),  836,  6022 
White,     Mrs.     D.     (Finsbury 

Square),  653 
T.  Warne^  Mr.  (Sloane  Street), 

924 


294 


APPENDIX 


T.  Wood,  Mr.  (Cork),  935 
T.  White,  Revd.  Thos.  (Devon- 
shire Place),  945 
Wright,  Miss  Frances  (Maple- 
durham,   Oxon),    957    (see 
Blount) 
T.  Wright,    Mr.    (White   Street, 

Boro),  978 
T.  Weekes,     Revd.     Mr.     (Bar- 

badoes),  6028  (or  Wickes) 
T.  Way,     Master    Wm.     (Great 

Ealing,  M'sex),  6071 
T.  Way,  Mr.  Felix  (Old  Broad 

Street),  6072 
T.  Wathen,    Mr.    Nat.    (Stroud, 

Glos.),  6076 

Watson,     Revd.    Mr.     (Man- 
ningtree,     Essex,     nephew 
of  Col.  Bullock),  6135 
Wyatt,  Mrs.  Benjamin  (Buck- 
ingham     Street,      Fitzroy 
Square),  6136 
Wentworth,  Mr.,  6142 
Wood,  Mr.,  Senr.,  D.  08 
Watts,  Mrs.  (afterwards  Mrs. 
Brooksbank)  (Harley 

Street),  D.  034 

T.  Wyatt,     Mr.     (Queen     Anne 
Street  E.,  late  of  Calcutta), 

985 
White,  Miss  (Somerset  Street), 

992 
Wood,    Miss,   5,    22,    40,    72, 

158,  266,  409,  623  ;    Mrs., 

631 

Woulfe,  Sir  Jacob,  7 
Wright,  Mr.  (Tooley  Street), 

23 
Wood,  Mrs.   (Surrey  Street), 

26 

Wood,  W.  (Self.),  45,  277 
Wright,    Dr.    Jas.      (E.    I.), 

49 
West,    Mr.    R.    L.    (Newman 

Street),  76 

Wood,  Mr.,  Senr.,  140 
Williams,   Revd.   Mr.    (Aber- 

gavenny),  152,  154 
Walton,  Mrs.  (Norton  Street), 

170 


Wistinghausen,  Mrs.  (wife  of 

530),  6103 
Wright,  Miss  (Jermyn  Street), 

177 

Wolsley,  Admiral,  197 
Whitaker,  Mr.,  217 
Weatherall,    Mr.    (Serjeant's 

Inn),  224 
Wood,  Mrs.,  226 
Watson,  Mr.,  233 
Whitley,  Mrs.  (Bond  Street), 

269 
Watts,      Miss      (Devonshire 

Street),  280 

Wynne,  Mr.  (Wales),  295 
Worswick,    Mr.    (Lancaster), 

309 

Willyams,  Mr.  J.  B.,  316 
Wiple,     Miss     (Southampton 

Street),  326 

Whittle,   Mr.    (Belfast),  361 
Wingfield/Capt.  (The  Guards) , 

372 

Woolcomb,    Mr.    (near    Ply- 
mouth), 394 

White,  Capt.  (Both  Foot),  395 
White,  Mr.  (Somerset),  404 
T.  Weatherell,  Miss   (Southend) 
407 

Ximenes,  Mrs., (Margaret  St.). 
961 

Yough,  Mrs.  (Oxford  Road), 

192 
Yates,  Miss  Fanny  (Carlisle), 

243 

Yates,  Miss,  244 
Yonge,  Miss  Maria    (Lamb's 

Conduit  Street),  368 
Young,    Mr.     (Philadelphia), 

509 
T.  Yonge,  Mr.  Jas.  (St.  James' 

Street),  551,  6026 
Yates,  Capt.  (5oth  Foot),  909, 

D.  121 
Yonge,  Mrs.   (wife  of  Capt.), 

6005  ;    Major  Yonge,  6185 
York,  H.R.H.,  The  Duke  of 

(done for  Mrs.  Clarke),  6126 


INDEX 


Abercombie,  Mrs.  John — Mins.  68 
Aberdare,  Lord — Min.   122 
Abergavenny,  Baron  G.  N. — Port.  14 
Abington,  Lady — Port.  146 
Abington,  William — Port.   165 
Academy,  Royal — Exhibitors,  etc.,  Alefoun- 

der  J.,  181  ;  Bone,  H.,  197  ;  Chalon,  185  ; 

Cosway,  R.,  108,  115,  249  ;    Egley,  186  ; 

Engleheart,  G.,  126;    Essex,  W.,    198; 

Hone,  N.,  177  ;    Humphry,  O.,  152,  157  ; 

Lethbridge,  W.  S.,  179  ;  Robertson)  A.S., 

183  ;      Scouler,    177  ;    j  Shelley,  S.,    i75fc 

Spencer,  G.,  195, 196  ;  Smart,  J,  136, 143  ; 

Thorburn  185  ;  Wood,  W.,  164 
Acraman,  Miss  S.  A. — Port.,  167 
Acraman  Family  Children,  168 
Addison,  J.,  211  ;  209 
Affleck  Daughter — Group,  122 
Aguilar  Mr. — Pott.,  146 
Albemarle,  Duke  of — Port.,  69 
Alefounder,  J.,  181 
Alencon,  Due  d' — Port.,  25,  30 
Allen,  Mr. — Port.,  165 
Allston,  W.,  254 

Alnwick  Castle— Sherborne  MS.,  8 
Amelia,  Princess — Port.,  105 
America — Collections,    241,    242,    see    also 

Morgan,  etc. ;  Painters,  254-262 
Amsterdam,  see  Rijks  Museum 
Ancaster,  Earl  of — Port.,  12 
Andre,  Maj.,  259 
Anne,  Queen — Instruction  by  R.  Gibson,  87  ; 

Enamel  by  Boit,  194  ;  Hilliard  Portraits, 

34  ;  "  Limner,"  4  ;  Oliver,  I.,  portrait,  40  ; 

Son's  portrait,  [210 ;  White,  G.,  portrait, 

213 

Anne  of  Cleves,  Queen — Henry  VIII    por- 
trait, 12  ;   Portrait  of  by  Holbein,  12,  232 
Argyle,  Duke  of — Nephew's  port.,  165 
Arlaud — Enameller,  194 
Armada  Jewel,  28 
Armytage,  Sir  G. — Port.,  146 
Art  Colouring  Manuf.  Co.,  249 
Ashmolean  Mus. — Bone,  H.,  192  ;   Curator, 

C.  F.  Bell,  226  ;  Enamels,  198,  234 
Athlone,  Lord — Port.,  210 
Atkinson,  S. — Gold  Mines  in  Scotland    29 
Aubert,  194 

Aubrey,  Lives  of  Eminent  Men,  58 
Audrey,  Lady — Port.,  124 
Augustin — Miniatures  by,  19,  201,  203,  204, 

241,  242  ;  Pupil-,  204 
Auriol,  Mr. — Port.,  146 
Baker,  Collins — Port.,  93 
Balchin,  Elizabeth — Port.,  146 
Bale,  S. — Holbein  Port.,  12 
Baltimore,  G.  C. — Port.,  44 
Bancks,  Charles — Port.,  214 
Banks,  Maj.— Port.,  146 


Barnard  Castle — Mins.,  234 

Barnard,  Miss  (Mrs.  Hicks) — Port.,  162 

Baroda,  Gaekwar — Coll.,  153 

Barret,  G.,  125 

Barry,  Madame  Du — Port.,  105,  106 

Bartley,  Mr.  T. — Port.,  166 

Bate,  W. — Enameller,  197 

Bath,  Holburne  Museum  Coll.,  153  210,  234 

Bathurst,  Ralph — Port.,  207 

Batson,  Mr. — Port.,  146 

Bauch,  Pieter  Van  der,  214 

Baxter  Prints — Sold  as  Mins.,  218 

Beale,  Bartholomew — Mins.  attrib.,  95 

Beale,  Charles,  93,  94,  95 

Beale,  Mary — Beaufort,  Henry  Somerset,  rst 
Duke  of,  94  ;  characteristics  of  portraits, 
93  ;  Cooper,  Samuel,  63  ;  death,  95  ;  Lely, 
Sir  Peter,  8p,  93  ;  plumbago  drawings, 
213  ;  Portraits  painted  by,  93,  95  ;  Self- 
portrait,  93 

Beauchamp,  Earl — Collection,  Beale,  C.,  94, 
95  ;  Beale,  Mary,  94  ;  Cooper,  S.,  70,  72  ; 
Gibson,  R.,  89  ;  Hilliard,  L.,  33",  34  ;  Len, 
B.,  101  ;  Loan  to  S.  Kensington,  235  ; 
Petitot,  J.  L.,  193  ;  Shute,  J.,  36  ;  Streets 
G.,  18 

Beaufort,  Henry  Somerset,  ist  Duke  of — 
Port.,  94 

Beaumont,  B.,  181 

Beechey,  Sir  W. — Port.,  170 

Bell,  C.  F.,  226 

Belvoir  Castle  Coll.  of  the  Duke  of  Rutland- 
Cooper,  S.,  61  ;  Hoskins,  J.,  52,  54  ;  Hum- 
phry, O.,  153  ;  Manners  Family,  235  ; 
Oliver,  I.,  41  ;  Raleigh  Miniatures,  235 

Benet,  Miss— Port.,  146 

Beninck,  Simon — Port.,  5 

Benion,  Mr. — Port.,  166 

Berkeley  Castle,  153 

Berkshire,  Thomas  Howard,  Earl  of — Moll 
Davis,  55 

Berlin  Collections,  240 

Berwick,  Duke  of — Queen  Elizabeth's 
Prayer  Book,  30 

Berwick,  James  Fitzjames,  Duke  of — Por- 
trait of,  48 

Bettes,  John — Mins.  by,  17,  19,  36 

Bettes,  Thomas — Min.,  36 

BibliothSque  National — Caesar  MS.,  9* 

Bildt,  Baron  de — Hist,  of  Queen  Christina,  78 

Billingshurst,  Mr.  G. — Port.,  167 

Binnic,  Simon — Daughter,  n,  233  ;  Land- 
scapes, 233  ;  Portraits,  ir,  21,  232 

Birch,  Enameller,  197 

Birch,  Capt. — Port.,  169 

Blarenbergue,  Van — Mins.,  20 

Blois  Enamellers,  189 

Blois,  Abrm.  de — Nell  Gwynne  drawing,  213 

Blootelling,  A. — Ports.,  206  214 


295 


296 


INDEX 


Bogie,  J.— Graham,  Col.,  180  ;  Min.  paint- 
ing, 178,  179 ;  Salting  Bequest  Mins., 

233 
Bohemia,   Frederick,     Elector     Palatine — 

Port.,  45 

Bohemia,  Queen  of — Port.,  45 
Boit — Enamel   work,    194  ;     Pupil    Zincke, 

194,  195 
Bone,  Henry — China  decorator,  197  ;  Copies 

of  Old  Masters,  197  ;    Elizabeth's  Court, 

ports.,    197;     Plumer,   N.,    117;     Royal 

Enamel  Painter,  197 

Bone,  Henry  (jun.) — Queen  Victoria,  192 
Bone,  H.  P.  and  R.  T.,  197 
Booty,  Mr. — Port.,  141 
Bordier,   Jacques,   190 ;    Cromwell,   Oliver, 

191  ;    French  Court  of  Louis  XIV,  191  ; 

Mayerne,  Turquet  de,  help  given  by,  190  ; 

Milton,    John,    191  ;     Watch-cases    ena- 
melled, 189, 190 

Bossam,  John — Mins.  attrib.  to,  18,  35 
Boston — Min.  Coll.,  242 
Bosworth,  Sir  J. — Snuff-box,  195 
Bourchier,  Mr.— Port.,  161 
Bouchot,    Henri — Book  on    French    Mins., 

204 

Bowyer,  Min.  painter,  181 
Boydell,  Alderman — Port.,  256 
Boydell,  Miss — Port.,  137 
Bracciano,  Paolo  Giordano  Orsini  II.,  Duke 

of — Corres.  with  Queen  Christina,    78 
Bradley,  Dictionary  of  Miniaturists,  3 
Brandon,  Alicia   (Mrs.   Hilliard) — Marriage, 

27  ;  Port.,  22,  27 
Brandon,     John — Daughter     married     N. 

Hilliard,  27 

Brenner — Colls,  of  Mins.,  201 
Bridges,  Noah — Port.,  68 
Bridport,   Hugh — Conwell,  Dr.,   Bishop   of 

Philadelphia,   260 ;    Hopkinson,   Francis, 

260  ;  Life  and  Work,  260 
Bringhurst,    Mr. — Flag    with    Washington 

Port, 257 

Bristol,  Earl  of — Port.,  36 
Bristol,  Marquess  of,  see  Ickworth  Pk.  Coll. 
Bristow,  Mrs.  Robert — Port.,  168 
British  Institute— Exhibits  by  W.  Wood, 

167, 168 
British  Museum — Books  on  Miniatures,  229, 

230  ;    Cassar's  "  De  Bello  Gallico  "  MS., 

?* ;  Humphry,  O.,  drawings,  153  ;  Oliver, 
.,  drawings,  41  ;  Plumbago  portraits, 
233  ;  Print  Room,  229  ;  Regimine  Prin- 
cipis,  De,  MS.,  8  ;  White,  R.,  209 

Bronzino — Mins.,  240 

Brooke,  Miss — Port.,  170 

Brounckhurst,  Arthur  San — Gold  mines  in 
Scotland,  29,  31  ;  Paintings,  32 

Browne,  Mrs. — Port.,  162 

Brownlow,  Earl — Collection,  101 

Brussels — Forged  Miniatures,  221 

Buccleuch  and  Queensberry,  Duke  of,  Col- 
lection— Anonymous  Mins.,  17,  18  ;  Beale, 
C.,  95  ;  Cooper,  A.,  77  ;  Cooper,  S.,  61,  69  ; 
Crosse,  L.,  86,  97  ;  Dixon,  N.,  attributed, 
83  ;  Hilliard,  N.,  20,  20*,  21*,  22,  28,  33  ; 
Hilliard,  R.,  27  ;  Holbein,  H.,  10,  12,  13, 
14  ;  Hoskins,  J.,  52,  54,  56  ;  Loan  to  the 


V.  and  A.  Museum,  234  ;  Oliver,  I.,  39, 41  ; 

Oliver,  P.,  44,  45  ;   Ross,  Mrs.,  88 
Buchanan,  George — Port.,  32 
Bucharest — Min.  Coll.,  241 
Buck,  Adam,  181 

Buckingham,  Duch.  of  — Min.,  85  ;  Port.,  94 
Buckingham,    George    Villiers,    Duke    of — 

Port.,  85  ;    Holbein's  Port,  of  Jane  Sey- 
mour, 12 

Bull,  Min.  Painter,  179 
Bulteel  Family — Ports.,  210 
Bur,  Leonard— Port.,  10 
Burdett-Coutts,     Baroness — Family    Mins., 

237 ;     Ross,    Sir    William,    Mins.,    184  ; 

Strawberry    Hill    Collection,     39,     237  ; 

Vandyck  copy  by  P.  Oliver,  43 
Burghley  Collection,  see  Exeter,  Marquess  of 
Burlington  Mag. — N.  Hilliard,  24 
Burrell  Collection — Min.,  69 
Butler,  Capt. — Ports.,  162 
Byron,  Lord — Port.,  186 
Cassar's  "  De  Bello  Gallico  "  MS— Portraits 

attributed  to  J.  Clouet,  9 
Cambridge,  Mrs.  George— Port.,  166 
Cambridge,  Mr. — Litho.,  171 
Campbell,  Mr. — Port.,  165 
Campbell,  Mrs.— Port.,  167 
Captal,  Miss  Ann — Port.,  168 
Carew,  Sir  G.— Port.,  146 
Carlisle,  ILord,  Collection— Diion,  N.,    83  ; 

Humphry,  O.,  153 
Carnarvon,  Lady — Port.,  89 
Caroline,  Queen — Port.,  66 
Carr,  Lady  Anne— Port.,  89 
Carrandini,     Paolo — Life,     84 ;      Mary     of 

Modena,  ports.,  84  ;   Mins.,  84 
Castlemaine,  Lady — Port.,  193 
Catherine  Howard,  Queen — Ports.,   10,   12, 

13  ;  White,  R.,  209 
Catherine  Parr,  Queen— Port.,  12 
Cavendish,  Thomas — Port.,  39 
Chalon— Min.  painter,  185 
Chamberlayne,  Mr.— Purchase  of  mins.,  166 
Chandos,  Lord — Port.,  39 
Chantilly— Cassar's  "  De  Bello  Gallico  "  MS. 

9* 

Charles  I— Copies  of  Old  Masters  by  P. 
Oliver,  43,  45  ;  Enamellers  Petitot  and 
Bordier,  190  ;  Faber  J.,  210,  212  ;  Gerbier, 
B.  (as  Prince  Charles),  85  ;  Great  Seal  of, 
drawings  by  J.  Hoskins,  51  ;  Hilliard,  N., 
portrait  of  Queen  Elizabeth,  33  ;  Hoskins, 
J.,  50,  54  ;  Oliver,  P.,  45  I  Petitot,  J., 
enamel,  191 

Charles  II— Cooper,  S.,  Ports.,  59,  63,  71  ; 
Davis,  Moll,  55  ;  Diploma  Deed,  6  ; 
Faithorne,  W.,  211,  214 ;  Goodwc.od 
port.,  5  ;  Granges,  D.  des,  91  ;  Hoskins, 
J.  (as  a  boy),  54  ;  "  Limnings  "  Coll.,  4  ; 
Loggan,  D.,  6,  207  ;  Oliver,  P.,  story  of 
wife,  42  ;  Prieur,  after  S.  Cooper,  192, 193  ; 
White,  R.,  209 

Charles  X  of  Sweden— Port.,  78  ;  Isabey,  201 

Charlotte,  Queen — Enamel  painter,  S. 
Finney,  196  ;  Queen  Elizabeth's  Pray«r 
Book,  30 

Chaucer,  Geoffrey — Port.,  8 

Cheron— Enameller,  194 


INDEX 


297 


Chinnery,  George — Mins.,  181 

Chodowiecki— Mins.,  20,  204 

Christ's  Hospital— Drawing  Master  B.  Lens, 
too 

Christina,  Queen — Corres.,  78  ;  Ports.,  75, 
77,  78 

Church,  J.  B. — Sons  P.  and  J.,  port.,  180 

Clare,  John  Holies,  ist  Earl  of,  52 

Clark,  Alfred— Sketch  port.,  141 

Clarke,  Dr. — Port.,  170 

Clarke  Hon.  G. — Charles  I  port.,  210 

Claverton,  Mrs. — Min.,  27 

Clay,  Mr.  Joseph— Port,  168 

Clayton  Family — Ports.,  122 

Clench,  Sir  John — Port.,  41 

Cleveland,  Duchess  of,  69 

Cleveland  Min.  Coll.,  242 

Cleyn,  Charles — Mins.,  84 

Cleyn,  Francis — Mins.  attrib.  to,  89  ;  Royal 
Tapestry  Works,  Mortlake,  83 

Cleyn,  John— Mins.  by,  84 

Cleyn,  Penelope — Mins  by  attrib.  to,  84 

Clive,  Kitty— Port.,  114 

Clouet,  Jean  (Janet) — Caesar's  "  De  Bello 
Gallico  "  MS.,  ports.,  9  ;  Cosse,  Charles  de, 
Mar6chal  de  Brissac,  10  ;  Mins.  by,  17 

Clovio,  Giulio — Grimani  Breviary,  5,  6 

Cobham,  Lord,  Collection,  69 

Cockburn,  Thomas — Port.,  138 

Cockerell,  Mr.  Robert — Port.,  169 

Collins,  Richard — Min.'att.  to,  of  Kitty  Clive, 
114  ;  Pupil  of  J.  Meyer  and  J.  Plott,  198 

Collins,  Samuel,  148,  181 

Combe rbach,  Mr. — Port.,  165 

Comerford,  J. — Min.  painter,  179 

Comthwait,  Mrs. — Min.,  165 

Conway,  Baroness— Port.,  97 

Conway,  Viscount — Port.,  57 

Conwell,  Dr.,  Bp.  of  Philadelphia— Port., 
260 

Consort,  Prince — Enamel  port.,  199 

Cooke,  Mrs. — Port.,  169 

Cooper,  Alexander — Anon,  mins.,  77 ;  Charles 
X  of  Sweden,  78  ;  Christina,  Queen,  78  ; 
death,  77  ;  enamel  portraits,  78  ;  Elector 
Frederick  and  Family,  74,  75  ;  Gustavus 
Adolphus,  76  ;  Hoskins,  John,  uncle,  51  ; 
James  II,  port.,  75  ;  Palatine,  Prince,  78  ; 
Sweden,  75,  77 

Cooper,  Mrs. — Port.,  64 

Cooper,  Samuel — Albemarle,  Duke  of,  69  ; 
Bridges,  Noah,  68  ;  Characteristics,  69,  70, 
7i,  73,  74  ;  Charles  II,  59,  71  ;  Cleveland, 
Duchess  of,  69  ;  Cromwell,  Oliver,  60,  69  ; 
Cowl ey,f  Abraham,  72  ;  Death,  63,  81 ; 
Ereter,  4th  Earl  of,  61  ;  Exeter,  Lady,  61  ; 
Fleetwood,  G.,  95  ;  Forged  Miniatures, 
221  ;  Graham,  Col.,  of  Netherby,  68  ; 
Genius  and  ability,  58,  61  ;  Hobbes, 
Thomas,  58  ;  Holies,  Sir  F.,  64  ;  Hoskins, 
John,  51,  58  ;  Inscription  on  Min.,  225  ; 
James  II  as  Duke  of  York,  68  ;  Lemon, 
Margaret,  71  ;  Life,  58,  61  ;  London,  John, 
Lord,  62,  71  ;  May,  Sir  Thomas,  69  ;  Mon- 
mouth,  Duke  of,  62,  69,  71  ;  Monument  to, 
65,  66  ;  Morgan  Collection,  241  ;  Musical 
ability,  58,  60 ;  Myddleton,  Jane,  70,  72  ; 
Oil  painting,  67;  Pencil  drawing,  206; 


Pepys,  Mrs.,  59,  60  ;  Percy,  A.,  Lord  High 
Admiral,  233  ;  Pupil  Jean  L.  Petitot,  194  ; 
Royal  Limner,  63 ;  Sandwich,  Ear]  of, 
233  ;  Self-portraits,  66,  67  ;  Shaftesbury, 
Earl  of,  71,  74  ;  Signature,  73  ;  Sotheby 
Collection,  238  ;  Touched-up  Miniatures, 
74  ;  Unfinished  Portraits,  69,  70  ;  Wife, 
Christiana,  Portrait,  64 ;  Wife,  Royal 
Pension,  63,  64  ;  Will,  65 

Copley — Introd.  to  C.  W.  Peale,  259 

Cornwallis,  Lord — Port.,  138 

Correggio — Mins.,f24O 

Corvus,  Johannes— Mins.,  17 

Cosse,  Charles,  Marechal  de  Brissac— Port., 
9,  10 

Cosway,  Richard — Academician,  108 
Amelia,  Princess,  105 ;  Barry,  Madame 
Du,  105,  106  ;  Caricatures  and  Satires  on, 
108,  no  ;  Characteristics,  104,  105,  107, 
126,  127  ;  Church,  Philip  and  John,  180  ; 
Concerts  and  Receptions  by  Mrs.  Cosway, 
108  ;  Correspondence,  114  ;  Clive,  Kitty, 
114  ;  Death,  in  ;  Devonshire,  Duchess 
of,  105  ;  Devonshire,  5th  Duke  of,  Chil- 
dren, 112  ;  Exhibits  of  Portraits,  108  ; 
Fitzherbert,  108 ;  Forged  Mins.,  220 ; 
George,  Prince  of  Wales,  106 ;  Ivory 
Mins.,  104  ;  Life,  107  ;  Mins.  copied,  163  ; 
Murray  Coll.,  239  ;  Parsons,  Mrs.,  112  ; 
Pigments  used,  246,  249  ;  Plimer,  An- 
drew, n 6,  117,  119;  Pomp  and  Vanity, 
108,  109,  no ;  Salting  Bequest  Mins., 
233  ;  Scott,  Henrietta,  Duchess  of  Port- 
land, 106;  Signature,  113,  114;  Smart, 
John,  133  ;  Society  of  Arts  Prizes,  105, 
133  ;  Training,  107,  108  ;  Wallace  Collec- 
tion, 234 ;  Whittington,  Mrs.,  225 
Windsor  Castle  Coll.,  235 

Cosway,  Maria — Port.,  134 

Cosway,  Mrs. — Artistic  Ability,   in,   113 
Coll.  at  Lodi,  in  ;  Concerts  and  Recep- 
tions, 1 08  ;  Honours,  113  ;  Marriage,  in 

Cotes,  Penelope — Mins.  by,  84 

Cotes,  Samuel — Enameller,  196 

Cowdray  Fire,  39*5 

Cowley,  Abraham — Port.,  72 

Cox,  David — Soc.  Assoc.  Artists  in  Water- 
colour,  170 

Cradockes — Connection  with  George  Fleet- 
wood,  95 

Craft — Enameller,  197 

Craven,  Lord — Port.,  146 

Cresswell,  Mrs.  (Letitia),  169 

Crewe,  Lt.-Col. — Portrait,  167 

Crisp  Lady — Port.  82 

Critz,  John  de,  38 

Crofts,  General — Port.,  210 

Croker,  John — Wife's  port.,  22 

Cromwell,  Oliver — Ports,  of  Bancks,  Charles, 
214 ;  Bordier,  191 ;  Cooper,  S.,  60,  69  ; 
Unknown  Artist,  192 

Crosse,  Lawrence — Ability,  80  ;  Character- 
istics, 97  ;  Collector,  96 ;  Conway, 
Baroness,  97 ;  Dalkeith,  Earl  of,  97 ; 
Danvers,  Mr.,  97  ;  Marlborough,  Duchess 
of,  97  ;  Morgan  Coll.,  241  ;  Newcastle,  J. 
Holler,  Duke  of,  97 ;  Pitts,  Mr.,  97  ;  St. 
Albans,  Duke  of,  97 ;  Salting  Bequest, 


298 


INDEX 


233 ;    Signature,   97 ;    Spragge,   Sir  Ed- 
ward, 86,  97 
Cronne,  John — 4 
Cumberland,  Duke  of,  99 
Gumming,  Admiral — Port.,  167 
Cunliffe,  Mr. — Collection,  239 
Currie,  Mr.  Lawrence — Coll.,  24,  34,  238 
Curt,  Dr.— Mins.,  37,  38,  41 
Dalkeith,  Earl  of— Ports,  by  Crosse,  L.,  97  ; 

Paton,  D.,  213 
Dally,  Diana — 142 
Dalrymple,  Sir  John — Port.  213 
Dalton,  Mr. — Crayon  port.,  66 
Dance — Oil  ports.,  163 
Danvers,  Mr. — Port.,  97 
Dartrey,  Countess  of,  Coll.  French  Portraits, 

237  ;   Petitot,  J.  L,.  Enamels,  98,  193 
Dartrey,  Earl  of — Enamels,  195 
Dashwood,  Misses — Ports.,  162 
Davidson,  Mr. — Port.,  146 
Davis,  Maj. — Port.,  166 
Davis,  Moll — Port.,  55 
Day,  Thomas,  181 
Delff,  W.  Jacobszoon — Port.,  213 
Denmark,    King    of — Prieur's    Enamel    of 

Charles  II,  192 

Denmark  Collections  of  Mins.,  239 
Denner,  Balthaser — Plumbago  drawings,  213 
Dent-Brocklehurst  Coll.,  12 
Devonshire,  Duchess  of — Port.,  105 
Devonshire,  Duke  of,  Coll.  at  Chatsworth — 

Cooper,  S.,  61,  69  ;   Granges,  D.  des,  92  ; 

Hoskins,  J.,  54  ;   Lens,  B.,  101  ;    Petitot 

Enamel,  190 

Devonshire,  5th  Duke  of — Min.,  112 
Devonshire  House  Coll.,  236 
Derby,  Lord — Coll.,  42,  237 
Dibdin — Verses  on  A.  Newland,  162 
Digby,  Mr.  Wingfield— Coll.,  237 
Digby,  Sir  K.  and  Lady — Ports.,  43,  44 
Dillman,  John — Kew  Palace  gardens,  125 
Dillon  of  Ditchley,  Charles  Lee,  Viscount — 

Port.,  150 
Dimier,  M.  Clouet,  J.,  MS.  ports,  attrib.  to, 

9  ;    Cosse,  Charles,  Marechal  de  Brissac, 

portrait,  9 

Dinglinger — Enamel  portraits,  20,  204 
Dixon,  Nicholas — Collections  mins.  by,  83  ; 

Crisp,  Lady,  82  ;   Graf  ton,  Duke  of  (att.), 


Lady  and  Child,  82  ;    Mortj 
Mins.,  81  ;  Morgan  Collection,  241  ; 


of 
loyal 


"  Limner,"    81  ;    Salting   Bequest,    233  ; 

Signature,  83 

Dobson,  William  —  Port.,  209 
Dodd,    Daniel  —  Groups   painted    by,    133  ; 

Pupil,  John  Smart,  133 
Donaldson,  John  —  Min.  painter,  179 
Donne,  Dr.,  1  he  Storm  —  Min.,  23 
Dorset,  Duke  of  —  Family  Ports.,  149,  152  ; 

Hoskins,  John,  port.,  233  ;  Oliver  port.,  46 
Dou,  General  —  Port,  of  Anne  Spiering,  213 
Dougan,  Mr.  John  —  Port.,  167 
Douglas,  Marquis  of  —  Port.,  207 
Douglass,  Marchioness  —  Port.,  213 
Downman,  John  —  Port,  of,  163  ;  Way,  Mr.. 

port.,  163 

Drake,  James  —  Port.,  210 
Drouet  —  Coll.  mins.,  201 


Drummond,  Mrs.  Hay — Port.,  169 
Dumont,  F.  and  T.— Mins.  by,  19,  201,  202, 

204, 

Dyce,  W. — Mins.  and  drawings,  186 
Dycle,  Alex. — Port.,  66 
Dyke,  Lt.-Col.— Port.,  168 
Dysart,  Countess  of — Port.,  54 
Dysart,  Earl  of— Port.,  213 
Dysart,  Earl  of,  Ham  House  Coll.— Family 
-    Ports.,  236  ;  Granges,  D.  des,  92  ;  Hoskins, 

J.,  49  ;   Oliver,  I.,  40  ;   Wood,  W.,  172 
Edinburgh  Univ.  Lib.— N.  Billiard  MS.,  26 
Edward  VI,  Portraits  of— Holbein  (att.),  15  ; 

Shute,  John,  36  ;  Streetes,  Gwiilim  (att.),i8 
Elizabeth,  Queen — Gold  Mines  in  Scotland, 

29  ;  Great  Seal,  2nd,  des.  and  engr.  by  N, 

Hilliard,  24  ;    Hilliard,  N.,  portraits,  24, 


26,  30,  33 ;  Oliver,  I.,  portrait,  38  ; 
Prayer  Book,  30 :  Unknown  Artist, 
portrait,  18 


Elizabeth,  Princess — Litho.,  171 

Elliott,  Sir  Thomas— Sketch,  141 

Engleheart,  -'  Geo. — Augusta,  •  Princess,  124; 
Characteristics,  104,  126,  127,  129  ;  Copies 
of  Mins.,  163  ;  Death  and  burial,  126  ;  Fee- 
books,  123,  124 ;  Fisher,  Anne,  128 ; 
Fisher,  Frances,  128  ;  Forged  Mins.,  220, 
221  ;  George  III,  123,  124 ;  Life  and 
Family  History,  125,  126 ;  Notable 
Sitters,  123  ;  Pigments  used,  249,  251  ; 
Pupil  of  G.  Barret,  125  ;  Pupils,  129  ; 
Reynolds,  Sir  J.,  125,  126,  129  ;  Royal 
Painter,  116  ;  Salting  Bequest  Mins.,  233  ; 
Signature,  127 ;  Sussex,  Duke  of,  125!; 
Trick  of  Mary  Meyer,  178  ;  Wales,  Prince 
of,  124  ;  Wales,  Princess  Dowager  of,  124  ; 
Wurtemburg,  Duchess  of,  125 

Engleheart,  H.  —  Archit.  Draughtsman, 
130 

Engleheart,  John  Cox  Dillman— Draughts- 
manship, 129 ;  Life,  129 ;  Pupil  of  G. 
Engleheart,  129  ;  Sheridan  portrait,  129 

Engleheart,  N.  and  G.,  130 

Engleheart,  Thomas— Wax  Ports.,  125 

Egley — Miri.  painter,  186 

Essex,  Earl  of,  Port,  of — Liebens,  J.,  213, 
214  ;  Oliver,  I.,  46  •'' 

Essex,  The  Countess  of— Port.,  40 

Essex,  William — Academy,  Royal,  198  ; 
Royal  Painter  and  Enameller,  198  ; 
Treatise  on  Enamel  Painting,  198  ; 
Victoria,  Queen,  port.,  199 

Evans — Engraving  of  Min.,  169 

Evans,  Mrs.— Port.,  166 

Evelyn — Cleyn  Family,  83 

Evelyn,  John,  Diary,  59 

Exchequer  Accounts— S.  Cooper  Stipend" as 
Royal  Limner,  63 2 

Exeter,  4th  Earl  of — Port.,  61 

Exeter,  Lady — Port.,  61 

Exeter,  Marquess,  Coll. — Coll.,  236  ;  Dixon, 
N.,  83  ;  Hoskins,  J.,  54  ;  Oliver,  I.,  39, 41 ; 
Oliver,  P.,  45  ;  Three  Youths  portrait,  5 

Faber,  John — Athlone,  Lord,  210  ;  Charles  I, 
210,  212  ;  Drawings,  215  ;  Dutch  Ad- 
mirals, 210 ;  English  Visit,  213 ;  Hill, 
General,  210  ;  Mary  II,  210  ;  Mezzotint 
Engravers,  210  ;  Rooke,  Sir  George,  210 


INDEX 


299 


Soxony,  King  of,  211  ;  William  III,  211  ; 
Wishart,  Sir  James,  210 

Faber,  John  (jun.) — Addison,  Joseph,  211  ; 
George  I,  211 ;  George  II,  211 ;  Mezzo- 
tint Engraver,  210 

Faithorne,  William — Charles  II  (att.),  211, 
214  ;  Pencil  Drawings,  206  ;  Reresby,  Sir 
John,  211  ;  Signature,  89 

Faraday,  Michael — Religion,  136 

Farquhar,  Miss  Helen,  28 

Farrington,  Joseph — Letter  from  O.  Hum- 
phry, 137 

Featherstonhaugh,  Mr. — Port.,  140 

Fenwick — Port.,  163 

ffoulkes,  Miss,  Coll. — Mins.,  142 

Field,  Robert — Mins.,  261 

Figdor,  Doktor — Fliger  Mins.,  200,  240 

Finland — Coll.  of  Mons.  Sinebrychoff,  239 

Finney,  Samuel — Enamel,  196 

Fisher,  Anne — Port.,  128 

Fisher,  A.  G. — Drawings,  153 

Fisher,  Frances— Port.,  128 

Fitzgerald,  Lord  Edward,  162 

Fitzherbert,  Mr.— Port.,  146 

Fitzherbert,  Mrs. — Ports.,  108 

Flatman,  Thomas — Ability/ 80  ;  Career,  89, 
90  ;  Gregory,  E.,  90 ;  Port,  of  by  O. 
Humphry,  180 ;  Pupil  C.  Beale,  93  ; 
Salting  Bequest,  233 ;  Signature,  91 ; 
Simpson,  Chris.,  98 

Fleetwood,  George — Port.,  95 

Fletcher,  Mr. — Port.,  167 

Fliccius,  Gerlack — Mins.,  17 

Florence — Collections  in  the  Uffizi  and  Pitti 
Palaces,  240 

Fothergill,  Dr.— Port.,  256 

Foster,  Charles — Drawings,  211 

Foster,  Thomas— Bulteel  Family,  210 ; 
Characteristics  of  Mins.,  209 ;  Crofts, 
General,  210  ;  Drake,  James,  210  ;  Draw- 
ings, 215  ;  Gloucester,  Duke  of,  210  ; 
Halifax,  Lord,  210 ;  Hay,  Dr.  and  Mrs., 
210  ;  Queen  Anne's  Son,  210  ;  Monmouth, 
Duke  of,  210  ;  Plumbago  Mins.,  205,  206  ; 
Scott,  Lord  H.,  210  ;  Tracy,  Viscountess, 
208,  209  ;  William  III.,  210 

Foster,  J.  J. — Book  on  S.  Cooper,  49,  65,  77 

Fouldstone,  Miss — Port.,  163 

Fragonard,  Mrne. — Mins.  by,  203 

Fragonard — Characteristics  of  Mins.,  203  ; 
Child  with  Fair  Hair,  The,  203  ;  Colls, 
of  Mins.  by,  201  ;  Ivory  for  Mins.,  203 


Francis 


is.  by,  20 
I — Cassar 


"  De  Bello  Gallico,"  port., 


9  ;  Cosway,  Mrs.,  in,  113  ;  Janet,  Mins., 
241  ;  Treaty  Port.,  5,  6,  10 

Franklin,  B. — Letter  to  West,  258 

Franz,  Arnold — Port.,  16 

Fraser,  James — Mins.  by,  255 

Fraser,  Stuart  M.— Port.,  165 

Frederick  III  of  Denmark,  193 

Frederick  V,  Elector  Palatine — Port,  of  by 
Cooper,  A.,  74,  75  ;  Gerbier,  B.,  85 

Freeman  George — Mins.,  261 

Fiiger — Col .  of  Mins.  by,  20,  200,  240 

Gainsborough  and  O.  Humphry,  149 

Gallic  Wars  MS. — Preux  de  Marignan  Por- 
traits, 9 

Gambier,  Mr. — Port.,  146 


Garnett,  Nelly — Port.,  140 

George  I. — Port.,  211 

George  II. — Port.,  211 

George  III. — Enamellers  J.  Meyer  and  H. 
Bone,  196,  197  ;  Port.,  123,  124 

George  IV.— -Cosway,  R.  (when  Regent),  106, 
108  ;  Enaraeller,  H.  Bone,  197  ;  Grimaldi, 
William,  Min.  painter,  179  ;  Russell,  John 
(when  Regent),  176 

Gerbier,  Sir  Balthazar— Buckingham,  Duke 
of,  85  ;  Characteristics  of  Mins.,  85  ; 
Charles  I.  when  Prince,  85  ;  Frederick  V., 
85  ;  Gentleman,  Name  Unknown,  85  ; 
Gloucester,  Henry,  Duke  of,  85  ;  Maurice, 
Prince  of  Orange  and  Nassau,  85,  98  ; 
Royal  Architect  and  Painter,  85  ;  Swedish 
Diplomatist,  85 

Germantown,  U.S.A.— Flag  with  Washing- 
ton's portrait,  257 

Gibson,  Richard—Carnarvon,  Lady,  89 ; 
Carr,  Lady  Anne,  89  ;  Daughters,  89  ;  Ogle 
Lord,  89  ;  Instruction  to  Queen  Anne  and 
Queen  Mary,  87  ;  Self- Portrait,  87 

Gibson,    Susan    Penelope    (Mrs.    Rosse) — 
Identification,  87,  88  ;  Kneller,  Sir  G.,  86 
Min.  attrib.  to,  87,  88 

Gibson,  William — Pupil  of  Lely,  87 

Gillberg — Mins.  by,  20,  201 

Gilpin,  Master  W  —  Port.,  165 

Gheeraerts,  Marcus — Daughter,  38 

Godfrey,  Sir  E.  B.,  49 

Goltzius,  Hendrick — Min.  of  Robert  Earl  of 
Leicester,  213  ;  Port.,  214 

Goodridge,  Miss— Mins.,  261 

Goodwood  Collection,  s#?  Richmond,  Duke  of 

Gordon,  Misses — Port.,  170 

Gosford,  Lord — Port.,  69 

Gothenburg  National  Museum,  78,  239 

Gould,  Mr.  George — Min.  Coll.,  242 

Goulding,  Mr.  R. — Information  re  Cooper, 
66,  67  ;  Dixon,  N.,  81,  83  ;  Gibson,  S.  P., 
87  ;  Granges,  D.  des,  91  ;  Lens,  B.,  99, 
100,  101  ;  Welbeck  Abbey  Coll.,  20,  238 

Glennies,  Mr. — Port.,  161 

Gloucester,  Duke  of — Port.,  85,  210 

Gloucester,  H.R.H.  Duke  of,  170 

Glover,  George — Plumbago  Drawings,  213 

Grafton,  Duke  of— Port,  83 

Graham,  Mr. — Inscription,  225 

Graham,  Col. — Port.,  180 

Graham,  Col.,  of  Netherby— Port.,  68 

Graham,  Richard — Art  of  Painting,  J.  Hos- 
kins,  53  ;  Account  Eminent  Painters,  S. 
Cooper,  58,  66 

Granges,  David  des — Charles  II.,  91  ;  Colls, 
containing  Mins.  by,  92  ;  Jones,  Inigo,  92  ; 
Life,  92  ;  Oil  portraits,  92  ;  Royal  Limner, 
91  ;  Signature,  92 

Gratz,  Rebecca — Port.,  255 

Greenhill — Pencil  drawings,  206  ;  Pupil  of 
Sir  P.  Lely,  80 

Greenwich  Hospital — Mins.,  153 

Gregory,  Capt. — Sketch,  141 

Gregory,  E. — Port.,  90 

Grej',  Lady  S. — Litho.,  171 

Grey  de  Ruthyn,  Lord — Port.,  207 

Gribelin — Enameller,  189 

Grignan,  Comte  de — Port.,  192 


300 


INDEX 


Grimaldi,  William — Enameller,  179 

Grimani,  Cardinal — Picture,  5,  6 

Guerin — Mins.,  ig,  201,  242 

Gustavus  Adolphus — Port.  76 

Gwydyr,  Lord — Port.,  179 

Gwyn,  Nell — Davis,   Moll,   hatred  of,   55  ; 

Port.,  213 

Halifax,  Lord — Port.,  210 
Hall,  John,  Engraver,  117 
Hall,  P.  A.— Characteristics  of  Mins.,  203  ; 

Colls,  of  Mins.,  200,  242  ;   Potocki,  Coun- 
tess Sophie,  Min.  by,  202 
Ham  House  Coll.,  see  Dysart,  Earl  of 
Hamilton,     Marquess    of — Min.     of    Mary 

Queen  of  Scots,  97 

Hamilton  of  Dalzell,  Lord — Port.,  213 
Hamilton,  Sir  W. — Enamel  port.,  199 
Hammond,  Lady — Port,  of  Capt.  Hood,  169 
Harcourt     •  Collection — Elizabeth,      Queen, 

port.,  1 8,  35  ;  Sydney,  Lady  Mary,  35 
Hardie,  Martin — Norgate  Treatise  on  The 

Art  of  Limning,  26,  27 
Harewood,  Earl  of,  Coll.,  153 
Harleian     MSS.,   British     Mus. — Portraits 

contained  in,  8*,  91,  85 
Harley,    Edward,    Lord — Purchase  Crosse 

Coll.  of  Mins.,  97 

Hart,  Mr.  C.  Henry— American  Min.  Paint- 
ers, 258 

Hartwell,  Lady— Port.,  169 
Hastings,  Lord — Naseby  Jewel,  191 
Hatfield — Enameller,  197 
Hatfield  Papers — Letters  of  N.  Hilliard,  32 
Hawke,  Lord — Sketch,  141 
Hawkins,    Rev.    W.    Bentinck    L.,    Coll. — 

Enamels  bequest,   198  ;    Holbein,   Hans, 

12  ;  Teerlinck,  Lavina,  n 
Hay,  Dr.  and  Mrs. — Ports.,  210 
Haydocke,  Richard — Lomazzo,  25,  26,  35,  38 
Henderson,  John — Port.,  257 
Henderson,  Mrs.  Francis — Port.,  166 
Henrietta  Anne  (d.  of  Charles  I.) — Port.,  209 
Henrietta  Maria,  Queen — Amsterdam  Mus. 

port.,    5  ;     Hoskins,    John,    50,    54,    56  ; 

Petitot,  Jean,  191 
Henry  VIII.— Anne  of  Cleves  Port.,   232  ; 

Rolls   of  j  Pleas   port.,    5,  6  ;     Unknown 

Artist  port.,  18 

Henry,  Prince,  son  of  James  I.,  40 
Herbert,  George — Port.,  166 
Heriot,  G. — James  I.  jeweller,  92 
Hermitage  Gall.,  Petrograd,  Coll.,  240 
Hervey-Aston,  Mr. — Port.,  150 
Hesselius,  Gustav — Son,  259 
Hesselius  (jun.) — Student  of  Peale,  259 
Higginson,  Sir  George,  Coll.,  128 
Hill,  General — Port.,  210 
Hill,  J.,  Min.  Painter,  179 
Hilliard,   Lawrence — Allusions   to,   32,   33  ; 

Characteristics   of  Mins.,    33  ;     Hudson, 

Lord,  attrib.,  21  ;  Mins.  signed  by,  33  ; 

Royal  "  Limner,"  33  ;  Treasury  payment 

for  five  ports.,  33 
Hilliard,   Nicholas — Alencon,   Due   d',    80  ; 

Anne  of  Denmark,  Queen,  34  ;    Armada 

Jewel,  attrib.,  28  ;   Brandon,  Alicia  (Mrs. 

Hilliard),  22,  27  ;  Characteristics  of  Mins., 

*£  ;    Colours  and  their  preparation,  26  ; 


Croker,  John,  and  his  wife,  22  ;  Elizabeth, 
Queen,  24,  26,  30  ;  Father,  Richard,  21, 
27,  232  ;  French  Court  Work,  25  ;  Gold 
Mines  in  Scotland,  29,  31  ;  Goldsmith's 
Craft,  Medals,  etc.,  24,  28  ;  Great  Seal 
(2nd)  of  Queen  Elizabeth,  24  ;  Hudson, 
Lord,  attrib.,  21  ;  Identification  of  Mins., 
20  ;  Irish  Seal  design,  24  ;  Letter  re  son  to 
the  Earl  of  Salisbury,  32  ;  Marriages,  27  ; 
Morgan  Collection,  241  ;  Pupils,  35,  38  ; 
Repute,  23  ;  Royal  "  Limner,"  24,  25  ; 
Self-portraits,  20,  22,  28,  34,  232  ;  Somer- 
set, Edward  Seymour,  Duke  of,  20,  28  ; 
Treatise  on  Min.  Painting,  25,  26  ;  Will 
and  Legacies,  28 

Hilliard,  Richard — Port.,  21,  27,  232 

Hobbes,  Thomas— Port.,  58 

Hobson,  Mr. — Chinese  Servant's  port.,  167 

Hoccleve's  MS — Chaucer's  port.,  8 

Hodgkins,  E.  M.,  Coll.— Hilliard,  N.,  32  ; 
Smart,  J.,  134,  142 

Hodgitts,  Mr. — Port.,  158 

Hoffman,  Matilda— Port.,  255 

Hoin — Mins.,  204 

Holbein,  Hans — Abergavenny,  Baron,  14  ; 
Anne  of  Cleves,  232  ;  Audley,  Lady,  13  ; 
Bur,  Leonard,  10 ;  Catherine  Howard, 
Queen,  10,  12,  13  ;  Catherine  Parr,  Queen, 

12  ;     Characteristics    of    Mins.,    15,    16 ; 
English  Visits,  n  ;   Forgeries,  15  ;  Henry 
VIII.,    12 ;     Howard,    Lady    Mary,    13  ; 
Katherine  of  Aragon,  Queen,  12  ;  Morgan 
Collection  of  Mins.,  241  ;  Pemberton,  Mrs., 
12,  241  ;    Self-portraits,  10,  12  ;    Resky- 
meer,  13  ;   Seymour,  Lady  Jane,  n,  12  ; 
Sotheby    Collection   of    Mins.    by,    238  ; 
Suffolk,  Duke  of,  13,  14  ;  Suffolk,  Duches* 
of,  12  ;  Suffolk,  Henry  Brandon,  Duke  of, 

13  ;     Touched-up    Ports.,     16  ;     Youth, 
friend  of  Sir  T.  More,  13,  14  ;  Wallace  Col- 
lection  of  Mins.,    234 ;     Windsor   Castl* 
Coll.,  235 

Holland — Oil  Min.  Painters,  240 

Holland,  Queen — Collection  by  Mr.  Lugts, 
239);  Cooper,  A.,  76,  77  ;  Cooper,  S.,  60  ; 
Gerbier,  B.,  85,  98  ;  Holbein,  H.,  13,  14  ; 
Oliver,  I.,  41  ;  Value  of  Collection,  239 

Holland,  Mrs.— Port.,  40 

Holies,  Sir  F.— Port.,  64 

Holmes — Min.  of  Lord  Byron,  186 

Holmes,  Miss  Maria — Port.,  167 

Holmes,  Rev.,  Sub-dean  Chapel  Royal — 
Port.,  162 

Holmes,  Sir  Richard— N.  Hilliard  and  the 
Goldsmith's  Craft,  24 

Holt,  Henry — Queen  Christina  port.,  78 

Holyrood  Castle— Scottish  Kings'  Portraits 
in  Gallery,  32 

Hone,  Horace,  Enameller  and  Min.  Painter, 
179,  196 

Hone,  Nathaniel — "  Conjuror,  The,"  paint- 
ing, 177  ;  Enameller,  196  ;  Personal  Ex- 
hibition of  Mins.,  177  ;  Pupil  J.  Plott,  198  ; 
Quarrel  with  R.A.,  177  ;  Salting  Bequest 
Min.,  233 

Hood,  Capt.— Port.,  169 

Hood,  Lord — Grandson's  port.,  169 

Hopkinson,  Francis — Dr.  Conwell,  260 


INDEX 


301 


Hopkinson,  Thomas — "  Hail  Columbia," 
260 

Hornebolt,  Luke  and  Susanna — Ports.,  n,  17 

Hoskins,  John — Bequest  in  S.  Cooper's  Will, 
65  ;  Charles  I.,  50,  54  ;  Charles  II.  (as  a 
boy),  54  ;  Characteristics,  53,  54,  57  ; 
Coll.  of  Mins.,  49,  54,  238,  241  ;  Contem- 
poraries, allusions  to,  51,  52  ;  Conway, 
Viscount,  57  ;  Davis,  Moll,  55  ;  Dorset, 
Earl  of,  233  ;  Dysart,  Catherine  Bruce, 
Countess  of,  54  ;  Gentleman,  Name  Un- 
known, 57  ;  Great  Seal  of  Charles  I., 
drawings,  51  ;  Henrietta  Maria,  Queen,  50, 
54,  55>  56  ;  Howard,  Lady  Catherine,  233  ; 
Life,si  ;  Lucas,  Sir  Charles,  55  ;  Maynard, 
Sir  John,  50,  57  ;  Pembroke,  Mary  Sidney, 
Countess  of,  57;  Pupils.  51,58;  Rudyard, 
Sir  Benjamin,  50 ;  Self-portrait,  Buc- 
cleuch  Coll.,  52  ;  Signature,  51,  52,  53  ; 
Southampton,  Rachel  de  Ruvigny, 
Countess  of,  56  ;  Touched-up  Mins.,  57  ; 
Will  and  bequest  to  son,  48 

Hoskins,  John  (jun.) — Berwick,  Duke  of,  48  ; 
Dysart  Coll.  Mins.,  49 ;  Godfrey,  Sir 
Edmund  Ber  y,  49  ;  James  II.,  47,  48  ; 
Roos,  Lord,  52,  53 ;  Self-port.,  52  ; 
Signature,  51,  52,  53 

Hothfield,  Lord,  Collection — Humphry,  O., 
153  ;  Import,  of  Coll.,  236  ;  Smart,  J.,  140 

Howard  Castle — Coll.  of  Lord  Carlisle,  236 

Howard,  Lady  Catherine — Port.,  233 

Howard,  Lady  Mary — Port.,  13 

Hoppner — Port,  of  Mrs.  George  Jerning- 
ham,  172,  173 

Howes,  John — Enameller,  196 

Hudson,  Thomas — R.  Cosway,  108 

Hummell,  Mr. — Port.,  169 

Humphry,  Ozias — Academy,  Royal,  mem- 
ber, 151  ;  Artistic  training  and  capabili- 
ties,i48, 152  ;  Boy,  Name  Unknown,  150  ; 
Characteristics  of  Mins.,  105,  147,  i53~5  J 
Collections  of  Mins.  by,  153,  233  ;  Copies 
of  Oil  Paintings,  148,  152  ;  Cosway, 
Richard,  criticism  of,  104  ;  Crayon  work, 

151,  152  ;    Dillon  of  Ditchley,  Viscount, 
150 ;    Documents    and    Correspondence, 
152  ;    Flaxman,  John,  180  ;    Friendships, 
149  ;    Hervey-Aston,   Mr.,    150 ;     Indian 
Visit,  137,  138,  149,  151  ;    Italian  Visit, 
149  ;    Large-sized  Mins.,  147  ;   Life,  148, 
149,    151  ;     Montrose,    Duke    of,     150 ; 
Nesbitt,  Mrs.,  150;    Oil  Paintings,  138, 

152,  153 ;     Ozias   Humphry,    by   G.    C. 
Williamson,  152  ;  Pupil  of  S.  Collins,  148, 
181  ;     Reynolds,    Sir    Joshua,    interview 
with,  148  ;    Royal  Painter,  149  ;    Salting 
Bequest  Mins.,  233  ;  Sketches  from  Mins., 
147 ;     Sparkes,    Mr.,     163  ;     Unfinished 
Mins.,  152  ;   Waldegrave,  Ladies  (lawsuit 
picture),  151 

Hunsdon,  Lord — Port.,  21 

Huntington  v.  Lewis  and  Simmons — Law- 
suit re  Picture,  151 

Hunter,  J.  H.  and  J.  F.  C. — Enamels  for  the 
Earl  of  Dartrey,  195 

Hyde,  Mrs. — Port.,  161 

Ickworth  Park  Coll.  of  the  Marquess  of  Bris- 
tol— Humphry,  O.,  153  ;  Lens,  B.,  66,  101 


Incorporated  Society  of  Artists — John 
Shute,  133 

Ireland — National  Gallery  Mins.,  234  ;  Seal 
design  by  N.  Hilliard,  24 

Isabey,  J.  B. — Characteristics  of  Mins., 201  ; 
King  of  Rome  as  a  Child,  180  ;  M  ins.  of 
Historical  Interest,  201  ;  Mins.  by,  19,  242 

Italy — Miniature  Coll.,  240  ;  Oil  Miniature 
Painters,  240 

Jackson — Port,  of  S.  Cooper,  67 

Jackson,  Robert — Port.,  164,  168 

Jacques — Mins.  by,  204 

James  I. — Brownckhurst,  Arthur  Van, 
Paintings,  31  ;  Hilliard,  N.,  Licence  Jfor 
Royal  Drawings,  etc.,  24,  25  ;  Jeweller, 
George  Heriot,  92 

James  II. — Brownckhurst,  A.  Van,  port., 
32  ;  Cooper,  Alex.,  75  ;  Cooper,  S.,  as 
Duke  of  York,  68 ;  Elizabeth,  Queen, 
Prayer  Book,  30  ;  White,  R.,  209 

Janet-Morgan  Coll.,  241 

Jean,  Paul — Min.  by,  181,  233 

Jefferies,  Mr. — Port.,  169 

Jerningham,  Frances,  Lady — Letter,  172 

Jerningham,  Mrs.  George,  172,  173 

Jerningham,  Sir  Henry — Holbein's  Min.  of 
Lady  Mary  Howard,  13 

Jersey,  Earl  of,  Coll.,  153 

Johnson,  Dr. — Enamel  Port.,  199  ;  Friend- 
ship with  O.  Humphry,  149  ;  Sketch,  141 

Johnston,  Miss — Port.,  169 

Jones  Collection — French  Mins.,  233 

Jones,  Inigo — Enamel  port,  of,  199  ;  Port, 
of,  by  David  des  Granges,  92 

Jones,  Mr. — Port.,  146 

Jones,  Mrs. — Port.,  166 

Jones  Bequest — Port,  57 

Jonson,  Ben — Copy  of  head  in  min.,  158 

Josephine,  Empress — Isabey,  port.,  201 ; 
Quaglia,  Min.  Painter,  204 

Joseph,  Mr.,  Coll. — Holbein's  port,  of  Queen 
Katherine  of  Aragon,  12 

Kaiser  Friedrick  Mus.,  Germany— Port,  by 
A.  Cooper,  74 

Katherine  of  Aragon,  Queen — Port.,  12 

Kauffmann,  Angelica — Quarrel  of  N.  Hone 
and  the  R.A.,  177 

Keats— Port.,  186 

Keighly,  Mr. — Port.,  167 

Kelly,  Mr. — Port.,  161,  165 

Kennedy,  Mr. — Buccleuch  Coll.,  20,  235  ; 
Pepys  Diary,  reference  to  "Jacke" 
Hoskins,  52 

Kensington  Museum,  South,  Collection — 
Beauchamp  Coll.  on  Loan,  235  ;  Hoskins' 
Port,  of  James  II,  47,  48  ;  Humphry,  O., 
153  ;  Oliver  Mins.,  46  ;  Wood,  W.,  172 

Keppel,  Col.— Port,  of,  163 

Keppel,  Hon.  Charlotte  A.,  166 

Ker,  Mrs. — Port.,  118 

Kerby,  John — Min.,  158 

Kew  Palace  Gardens — Design,  125 

Kilmorey,  Earl  of — Wife,  128 

King,  H.M.,  see  Royal  Coll. 

King,  Dr.  John,  Bishop  of  London,  35 

King,  Miss — Port.,  165 

Kingston  Lacy  Coll. — Enamels,  197 

Kirk,  Smith  M.— Port.,  146 


302 


INDEX 


Kneller,  Sir  G.— Port.,  86 

Knipe,  Miss — Port.,  166 

Knight,  Miss — Crayon  Port.,  163 

Knoie  Park — Ports.,  148,  153 

Knowsley,  Derby  Coll.,  198 

Knox,  John — Ports.,  257 

Knox,  Miss  Letitia — Port.,  167 

Kratzer,  Nicholas— Port.,  16 

Lake,  Sir  Bibye — Port.,  207 

Lambton,  Miss  Fanny — Port.,  159 

Lambton  Children — Ports.,  159,  166 

Laurent — Pupil  of  Augustin,  204 

Lawrell,  Mrs.  C.  J.  Pakenham,  112 

Lawrence,  Col. — Port.,  163 

Lawrence,  Sir  Thomas,  87 

Lee,  Mrs.,  Hartwell  House  Coll.— David  des 

Granges'  port,  of  Charles  II.,  91 
Leeds,  Duchess  of — Queen  Elizabeth's  port., 

3° 

Legate",  Gilles — Frame  for  enamel,  98 
Lehman  Family — Flag  with  Washington's 

Port.,  257 

Leicester,  Duke  of — Brother,  162 
Leicester,  Robert,  Earl  of — Port.,  213 
Lely,  Sir  Peter — Beale,  Mary,  93  ;    Pencil 
^Drawings,  206  ;  Pupils,  80,  87 
Lemberger,   Book  on  Scandinavian  Mins., 

77,78 

Lemon,  Margaret— Port.,  71 
Lemon,  Sir  William — Port.,  161 
Lemon,  Esme,  Earl  of,  31 
Lens,  Andrew  Benjamin — Miniature  Painter, 

100 ;     Self-portraits    and    family,     101  ; 

Tonson,  Jacob,  101 
Lens,  Bernard    (Enameller) — Collections    on 

Divinity,  MS.,  99  ;  Enamel  Painter,  99 
Lens,     Bernard      (Mezzotint     Engraver) — 

Drawing  School,  99 
Lens,  Bernard  (Miniature  Painter) — Copies 

of  ports.,  66,    100,    101  ;    Drawing   Book 

published    by,    100 ;     Drawing    Master, 

pupils,  99,  160  ;    Ivory,  use  of,  101,  220  ; 

Mary  Queen  of  Scots,  101  ;  Morgan  Coll., 

241  ;  Oxford,  Edward  Harley,  2nd  Earl  of, 

min.  for,  100  ;   Pope,  Alexander,  86 
Lens,  Peter  Paul — Miniature  Painter,  100  ; 

Mother,   port,    of,    101  ;    Oil    Paintings, 

102  ;  Signature,  102 
Lens  MS. — Lawrence  Crosse,  96 
Lester,  Sir  John — Port.,  146 
Lethbridge.W.  S.— Academy  School  Student, 

179  ;  Wolcot,  Dr.  (Peter  Pindar),  179 
Liddell,  Mrs.  Thomas— Min.,  27 
Liebens,  Jan — Port,  of  the  Earl  of  Essex, 

213,  214 

Limoges — Enamellers,  189 
Lindsell,  Mrs. — Port.,  165 
Linley,  Mrs. — Daughter  married  Sheridan, 

148 

Liotard — Enameller,  194 
L'Isle,  Lord  de — Frame  and  inscription  for 

portrait  of  R.  Milliard,  27 
Lockey,    Nicholas — Attributed    Miniatures, 

35  ;    Bishop  of  London,  John  King,  35  ; 

Sydney,  Lady  Mary,  attributed,  18 
Lockey,    Rowland—Miniatures    attributed, 

35  ;  More,  Sir  Thomas,  Family  Group,  35  ; 

Pupil  of  N.  Hilliard,  35 


Loggan,  David — Attributed  portrait,  214  ; 
Characteristics,  207,  208  ;  Charles  II.,  6, 
207  ;  Colls,  of  Portraits  by,  207  ;  Douglas, 
James,  Marquis  of,  207  ;  Drawings,  215  ; 
English  Visit,  213  ;  Engraver  to  the  Uni- 
versities, 207 ;  Grey  de  Ruthyn,  Lord,  207 ; 
Lake,  Sir  Bibye,  207  ;  Life,  206  ;  Mazarin, 
Cardinal,  207 ;  Oxonia  Illustrata  and 
Cambrigia  Illustrata,  207  ;  Perwick,  Mrs., 
207 ;  Plumbago  Miniatures,  205,  206 ; 
Pupil  R.  White,  209 ;  Somerset,  6th 
Duke  of,  207,  208 

Lomazzo— Translation  of  by  R.  Haydocke,  25 

Louis  XIII. — Enamelled  watches,  189 

Louis  XIV. — Enamellers,  J.  Petitot  and  J. 
Bordier,  191  ;  Portrait,  5,  192 

Louis  XVIII.— Ports.,  201 

Loundon,  John,  Earl  of — Port.,  62,  71 

Louisa,  Princess — Pupil  of  B.  Lens,  99 

Louvre — Miniature  Coll.,  239  ;  Petito  enam- 
els, 239  ;  Romano,  Giulio,  cartoons,  no 

Lovell  of  Tichmarsh,  Lord,  8 

Lucas,  Sir  Charles — Port.,  55 

Lugt,  M.  Fritz— Book  on  the  Queen  of 
Holland's  Collection,  77,  239 

Lund  ens — Mins.  by,  20,  204 

Lushington,  Miss— Litho.,  171 

Lutterell,  Edward— Study  of  Archbishop 
Plunket,  214 

Lydgate,  John — Port.,  9 

Madresfield  Court — Mins.  by  David  des 
Granges,  92 

Malbone— Characteristics  of  Miniatures,  255; 
Gratz,  Rebecca,  255  ;  Hoffmann,  Matilda, 
255  ;  Life,  254 

Manini,  Gaetano — Enameller,  198 

Mann,  Mr.— Port.,  166 

Manners,  Charles— Cooper's  Portrait  of  Lady 
Exeter,  63 

Manners  Family— Ports,  at  Belvoir,  235 

Mansfield,  Earl  of — Enamel  Port.,  199 

Maquer,  Mr. — Port.,  146 

Marie  Antoinette,  Queen,  Portraits  of — 
Isabey,  201  ;  Sergent,  200 

Marie  Louise,  Empress — Port.,  201 

Marlborough,  Duchess  of — Port.  97 

Marlborough,  Duke  of --Enamel  to  com- 
memorate Victories,  by  Boit,  194 

Marshall-Hall,  Sir  Edward — Coll.,  142,  239 

Mary,  Princess— Pupil  for  drawing  of  B. 
Lens,  99 

Mary,  Queen  of  Scots,  Portraits — Crosse,  L., 
97  ;  Lens,  B.,  101 

Mary  of  Modena— Port.,  84 

Mary  II.,  Queen — Instruction  given  by  R. 
Gibson,  87  ;  Portrait  of,  by  J.  Faber,  210 

Masse — Enameller,  194 

Maurice  of  Orange,  Prince — Port.,  85,  98 

May,  Sir  Thomas— Port.,  69 

Mayerne,  Turquet  de — Help  given  to  J. 
Petitot  and  Bordier,  190 

Maynard,  Sir  John — Port.,  50,  57 

Maynooth  Collection — Min.,  162 

Mazarin,  Cardinal — Port.,  207 

Measen,  Gilbert  Laing — Gold  Mines  in  Scot- 
land, 31 

Menage,  Miss — Port.,  168 

Mercer,  Gen. — Port.,  258 


INDEX 


303 


Meres,  Francis — R.  Lockey,  35 

Meyer,  Constance — Mins.,  204 

Meyer,  Jeremiah — Characteristics,  178  ; 
Daughter  Mary,  178 ;  Enameller  to 
George  III.,  196  ;  Marriage  of  R.  Cosway, 
119  ;  Pupil,  Richard  Collins,  198  ;  Pupil 
of  Zincke,  178  ;  Reynolds,  Sir  Joshua, 
178  ;  Royal  Painter,  178 

Middleton,  Mrs.— Port.,  70 

Miers,  John — Port.,  146 

Miller,  Mrs.— Port.,  168 

Miller-Gibson-Cullum,  Mr.  Gery— Beale, 
Mary,  95,  96  ;  Cooper,  S.,  port,  of  G. 
Fleetwood,  95 

Milton,  John — Port.,  191 

Miniature  Painters,  Royal  Society  of,  251,252 

Minley  Manor,  see  Currie 

Monmouth,  James.  Duke  of — Cooper,  S., 
portrait,  62,  69,  71  ;  Dukedom,  6  ;  Ross, 
Mrs.,  portrait  as  a  Child,  88  ;  Son's  por- 
trait, 210  ;  White,  Robert,  209 

Montagu,  2nd  Viscount— Son's  port.,  39, 
46 

Montagu,  Lady  Mary  Wortley— Port.,  177 

Montrose,  Duke  of — Port.,  150 

Monveron,  L'Abbe  de — Port.,  214 

More,  Sir  Thomas— Family  Group  port.,  35  ; 
Friend's  port.,  13,  14 

Morgan,  J.  Pierpont,  Collection — Armada 
Jewel,  28  ;  Augustin,  204,  241,  242  ;  Betts, 
T.,  attributed,  36  ;  Collection,  93  ;  Clouet, 
Jean,  10  ;  Cooper,  Samuel,  63,  67,  71,  241  ; 
Cosway,  Richard,  105,  106,  112  ;  Crosse, 

241  ;    Dixon,  N.,  81,  83,  241  ;    Dumont, 

242  ;    Engleheart,   G.,   128  ;    Fragonard, 
sketch,  203  ;   Gerbier,  B.,  85,  242  ;   Hall, 
P.  A.,  200,  202,  242  ;    Milliard,  L.,  33* ; 
Milliard,  N.,  25, 241  ;  Holbein,  H.,  12, 241 ; 
Holbein  Period  Miniature,  16  ;  Hoskins,  J., 
48,  50,  56,  57,  24i  ;    Humphry,  O.,  153  ; 
Importance  of  Collection,   241  ;    Isabey, 
242  ;  Janet,  241  ;  Lens,  B.,  241  ;  Oliver, 
P.,    45,    241  ;     Petitot    Enamels,    190 ; 
Petitot,  J.  L.,  192,  193,  241  ;   Plimer,  A., 
118,  241  ;  Prieur,  P.,  193  ;  Rossetti,  D.  G.. 


Newland,  Abraham — Bank,  Chief  Cashier 
161  ;  Port,  of,  by  W.  Wood,  161,  165 

Newman — Plimer's  pigments,  250 

Newton,  Sir  William — Ivory  Surface  for 
Miniatures,  186 ;  Royal  Painter,  185 

Nice — Forged  Miniatures,  220,  221 

Nightingale,  Col. — Port.,  161 

Nineteenth  Century — Alexander  Cooper,  75 

Nixon,  James — Miniature  painter,  179 ; 
Salting  Bequest  Mins.,  233 

Nollekens,  Sculptor— Port.,  143 

Norgate,  Edward — The  Art  of  Limning,  26 

Norman,  Dr.  Philip — Article  on  N.  Hilliard 
24,  25,  27 

Norman,  Lady  Elizabeth — Son,  Port.,  162 

North,  Lord — Collection,  see  Wroxton  Abbey 

Northcote — Port,  of,  256 

Northumberland,  Duke  of,  85 

Northwick,  ist  Lord— Wife,  118 

Numismatic  Chronicle — "  Nicholas  Hilliard 
Embosser  of  Metals  in  Gold,"  by  Miss  H. 
Farquhar,  28 

Nuneham,  Coll.  of  Viscount  Harcourt,  238 

Oakeley,  Lady — Port,  of,  by  J.  Smart,  140 

Occleve— Port,  in  MS.,  8 

Oglander,  Lady — Port.,  146 

Ogle,  Lord — Port.,  89 

Oliver,  Isaac — Anne  of  Denmark,  Queen,  40  ; 
Characteristics,  37,  39,  45  4.6;  Christ, 
Entombment  of,  41  ;  Clench,  Sir  John,  41'; 
Death,  38  ;  Dorset,  Lord,  46  ;  Elizabeth, 
Queen,  38  ;  Essex,  Earl  of,  Port.,  46 ; 
Essex,  Countess  of,  40  ;  French  Origin,  37, 
38  ;  Hair  in  Portraits,  treatment  of,  46  ; 
Henry,  Prince,  son  of  James  I.  (as  a  Baby), 
40  ;  Holland,  Mrs.,4o  ;  London,  Residence 
in,  38  ;  Marriage  at  Rouen,  38  ;  Montagu, 
2nd  Viscount,  son's  portraits,  39,  46 ; 
Morgan  Collection,  241  ;  Oil  Portraits 
attributed,  39  ;  Pupil  of  N.  Hilliard,  35, 
38  ;  Salting  Bequest,  233  ;  Sidney,  Sir 
Philip,  45  ;  Signature,  41  ;  Sotheby  Col- 
lection, 238* ;  Talbot,  Sir  Arundel,  41 

Oliver,  Mrs. — Port.,  blacklead,  42 

Oliver.  Peter— Baltimore,  George  Calvert, 
Baron,  44 ;  Bohemia,  Queen  of,  45 


241  ;  Sergent,  200  ;  Smart,  J.,  140  ;  Spen-  Baron,    44  ;     Bohemia,    Queen    of,    45 

cer,  241  ;  Teerlinck,  Lavina,  n1 ;  Turnbull,  Characteristics,  37,  43,  45  ;  Charles  I.,  45  ; 

J.,  258  Copies  of  Old  Masters,  43,  45  ;  Digby,  Sir 


J-,  258 

Mornington,  Lord — Port.,  166. 
Mortlake  Royal  Tapestry  Works,  83 
Morton,  Earl  of — Gold  Mines  in  Scotland.'si 
Moser,  Mary — Relations  with  R  .Cosway,  115 
Moser,  Michael — Jeweller  and  Medallist,  196 
Mottisfont  Abbey — Port.,  92 
Munden,  Mr. — Port.,  167 
Murray,  Capt.  H.  W. — Collection,  105,  239 
Myddleton,  Jane — Port.,  72 
Nanteuil,  R. — Plumbago  port,  of  Abbe  de 

Monveron,  214 
Napoleon  I. — Port.,  201 
Naseby  Jewel,  191 
Nesbitt,  Mrs. — Port.,  150 
New  York — Min.  Collections,  242 
Newcastle,  Duke  of — Dixon,  N.,  mortgage  of 

mins.  to,  81  ;   Port,  of,  by  L.  Crosse,  97 
Newcastle,  Duke  of,  95 
Newdigate — Newdigate      Family,      Arbury 

Collection,  102 


K.  and  Lady,  Ports.,  43,  44 ;  Haio  in  por- 
traits, treatment  of,  46  ;  Life,  42  ;  Pala- 
tine, Elector,  44  ;  Port,  of,  in  blacklead, 
42  ;  Salting  Bequest,  233  ;  Signature,  43  ; 
Sotheby  Collection,  238  ;  Vandyck  group 
copy,  43  ;  Wife  and  Charles  II.,  42 

Orme— Frame  to  Miniature,  208 

Orme,  Daniel — Stippled  Miniatures,  181 

Ormond,  Earl  of— Brother,  162 

Otis,  Bass,  261 

Oxford,  Edward  Harley,  2nd  Earl  of — 
Lens,  B.,  Mins,  100  ;  Pupil  of  B.  Lens,  99 

Oxford,  New  College — Degrees  granting,  90 

Oxford  University  Galleries — Bone,  H.,  197!; 
Crosse,  L.,  97  ;  Dixon,  N.,  81  ;  Forster 
T.,  210  ;  Lens,  B.,  100 

Palatine,  Elector,  Ports. — Cooper,  A.,  78  ; 
Oliver,  P.,  44 

Paris — Forged  Miniatures,  221  ;  Louvre,  see 
that  title 


304 


INDEX 


Parker,  Mr.  John — Port.,  165 

Parsons,  Mrs. — Port.,  112 

Parson,  Messrs. — Miniature  by  Paolo 
Carrandini,  84 

Pass,  Crispin  van  de  (elder) — Engraved  Port. 
of  Queen  Elizabeth,  by  Oliver,  38  ;  Port, 
of  Hendrick  Goltzius,  214 

Pass,  Simon  de — Plumbago  Dr.,  213,  215 

Pass,  William"de — Plumbago  Dr.,  213 

Pastel  Portrait  dispute,  247 

Paton,  David — Drawings  by,  213,  215 

Paul,  Sir  J.  D. — Fraud  Case  of  Paul  and 
Bates,  168  ;  Port.,  168 

Peale,  Ann — Mins.,  260 

Peale,  C.  Wilson— Artistic  Abilities,  259  ; 
Life,  259  ;  Taxidermy  Work,  259,  260 

Peale,  James,  260 

Peale,  St.  George,  260 

Peale,  Raphael,  260 

Peale,  Rembrandt,  260 

Peard,  Oliver,  and  R.  Conway,  107 

Pemberton,  Mrs. — Port.,  12,  241 

Pembroke,  Countess  of — Port.,  57 

Perm,  William,  75 

Pepys,  Samuel — Cooper's  Port,  of  Mrs. 
Pepys,  59,  60  ;  Davis,  Moll,  55  ;  Gregory, 
E.  H.,  90  ;  Hoskins,  "  Jacke,"  cousin  of 
Cooper,  52  ;  "  Paintings  in  little,"  4  ; 
Portrait,  160,  166 

Percy,  A.,  Ld.  High  Admiral — Port.,  233 

Perrin — Mins.  by,  204 
'  Peter  Pindar,"  see  Wolcot,  Dr. 

Perwick,  Mrs. — Port.,  207,  209 

Pether,  Wm. — Plumbago  Drawings,  213  ' 

Petitot,  Jean — Ability,  19, 190  ;  Apprentice- 
ship to  Bordier,  189  ;  Charles  I.,  191  ; 
Drawings  by,  193  ;  Ecclesiastic,  98  ; 
French  Court  of  Louis  XIV.,  191  ;  Henri- 
etta Maria,  Queen,  191  ;  Huguenot  Faith, 

191  ;  Life,  21,  189,  190,  191  ;  Louis  XIV., 
5,  192  ;  MS.  Journal,  193  ;  Mayerne,  Tur- 
quet  de,   190  ;    Morgan  Collection,  241  ; 
Richmond  and  Lennox,  Duchess  of,  191  ; 
Southampton,  Countess  of,  190  ;   Watch- 
cases  enamelled,  190  ;    Enamels   by,    in 
Collections,  193  ;   Grignan,  Le  Comte  de, 

192  ;   Royal  Prince,  name  unknown,  192  ; 
Study  with  S.  Cooper,  194 

Peirson,  Capt.  Richard — Port.,  170 
Petrograd,  Coll.  of  Mins.,  45,  240 
Pevison,  Sir  R. — Port.,  170 
Pfungst,  Mr.,  Coll. — Cooper,  S.,  71  ;  Dixon, 

N.,  83 
Philadelphia,  Drexel   Coll.— Port,   of  John 

Knox,  257 

Philip  and  Mary — Rolls  of  Pleas  port.,  5,  6 
Philips,  Mrs.  Katherine — Verses,  61 
Phipps,  Miss  Anna — Port.,  169 
Phipps,  Wathern — Port.,  169 
Pigot,  Sir  Henry— Wife,  128 
Pinchon — Pupil  of  Augustin,  204 
Pinkerton — Medal  to  commemorate  Peace 

with  Spain,  by  N.  Billiard,  28 
Pitt,  Hon.  Blanche — Min.,  112 
Pitts,  Mr.— Port.,  97 
Pittsburg— Min.  Collection,  242 
Plimer,  Andrew — Affleck  Daughters,  group, 

iaa  ;  Characteristics,  120,  121,  122  ;  Clay- 


ton Family,  122  ;  Copies  of  Miniatures, 
163  ;  Cosway,  R.,  116,  117,  119  ;  Daugh- 
ters, 121,  122  ;  Forged  Miniatures,  220, 
221  ;  Group  Portraits,  122  ;  Ker,  Mrs., 

118  ;   Life,  116,  117,  119,  120  ;   Marriage, 

119  ;    Morgan  Collection,  241  ;    Pigments 
used,  249,  250,  251  ;   Pupil  of  R.  Cosway, 
ii 6  ;   Rebecca,  wife   of   John,    ist   Lord 
Northwich,  118  ;  Rushont,  Three  Ladies, 
"  Three  Graces,"   122  ;    Salting  Bequest 
Mins.,    233  ;    Simpson,   John,   Miniature 
Group  of  Daughters,  122 

Plimer,  Nathaniel — Characteristics  of  Mins., 

120  ;  Life,  116,  117,  120 

Plomer,  Mr. — Port,  of,  by  J.  Smart,  146 
Plott,  John— Naturalist  Painter,  181  ;  Pupil 

of  N.  Hone,  198 

Plunket,  Archbishop — Port.,  214 
Poland,  John  Sobieski,   King  of — Enamels 

by  J.  Petitot,  191 
Pomfret,  Earl  of,  101 
Ponsonby,  Gerald — Port.,  141 
Pope,  Alexander— Cooper,  S.,  Sketch-books, 

etc.,  owned  by  Family,  65  ;  Enamel  Port., 

199  ;  Port,  of,  by  Bernard  Lens,  86 
Pope,  Thomas  and  William — Portraits,  by 

I.  Oliver,  39 
Portland,  Duke  of,  Welbeck  Abbey  Coll.— 

Catalogue  of  Coll.,  238  ;  Cooper,  S.,  66,  72, 

225  ;    Cosway,  R.,  106  ;    Crosse,  L.,  96  ; 

Dixon,  N.,  81  ;   Elizabeth,  Queen,  Prayer 

Book,  30  ;  Flatman,  T.,  98  ;  Gibson,  S.  P. 

(Mrs.  Rosse),  86  ;  Hilliard,  N.,  34  ;  Isabey, 

J.  B.,  180  ;  White,  R  ,  209 
Portrait  Gallery,  National — Beale's  Diary, 

93  ;  Humphry,  O.,  153  ;  Min.  Ports.,  233 
Portugal— Miniature  Colls.,  241 
Portugal,  Dona  Maria,  Infanta  of,  36 
Potocki,  Countess  Sophie,  202 
Powys,  Lord,  Collection- — Mins.,  153 
Prado  Museum — Mins.,  241 
Prewitt — Pupil  of  Zincke,  195 
Prieur,    Pierre — Castlemaine,    Lady,    193 

Charles  II.,   after  S.  Cooper,   192,   193 

Frederick  III.  of  Denmark's  Children,  193 

Marriage   with  Petitot's  daughter,    193 

Mins.   by,    19 ;     Poland,    King   of,    193 

Travels  and  work  abroad,  193 
Privy  Seal  Book — "  Twelve  Medals  in  Gold,' 

28* 
Propert,  Dr. — Cosway,  R.,  103  ;    Holbein's 

Port,   of  Jane  Seymour,   12  ;    Miniature 

painting  Investigation,  103 
Prud'hon,  Pierre — Mins.  by,  204 
Quaglia — Min.  painter  to  Empress  Josephine 

20,  204 

Raeburn — Mins..  182 
Raleigh,  Sir  Walter— Port.,  235 
Rallard,  Mr.— Sketch,  141 
Ramage,  John,  261 
Ramsay,  Mr.  William— Port.,  167 
Ratcliffe,  Lady — Sketch,  141 
Rawley,  Miss— Port.,  146 
Read,  Mr.— Port.,  146 
Record  Office,  Public — D.  des  Granges,  91 
Regrave,  Samuel,  S.  Kensington  Museum — 

Port,  of  James  II.,  47,  48 
Reeves,  Miss — Port.,  165 


INDEX 


305 


Regent,  George,  Prince,  see  George  IV. 

Regimine  Principis,  De — MS.  Brit.  Mus.,  8 

Reresby,  Sir  John — Port.,  211 

Reskymeer,  Mr. — Ports.,  13 

Reymer's  "  Fredera  " — N.  Hilliard,  24* 

Reynolds,  Col. — Port.,  143 

Reynolds,  Sir  Joshua — Comparison  with  G. 
Stuart,  256 ;  Copies  of  Pictures  done  by 
W.  Wood,  158  ;  Enamel  portrait,  199  ; 
Humphry,  O.,  interview  with,  148  ;  Port, 
of,  by  G.  Stuart,  256;  Pupil,  J.  Meyer, 
178  ;  Quarrel  of  N.  Hone  and  the  Royal 
Acad.,  177  ;  Student,  G.  Engleheart,  125 

Rich  Family — Mins.  of,  by  R.  Hilliard,  27 

Richardson,  J. — Plumbago  Dr.,  206,  213 

Richmond,  George,  R.A. — Father,  130 

Richmond,  Thomas — Pupil  of  G.  Engle- 
heart, 129  ;  Sons,  130 

Richmond  and  Gordon,  Duke  of,  Coll.  at 
Goodwood — Coll.,  236  ;  Cooper,  Samuel, 
Port,  of  Charles  II.,  5,  71 

Richmond  and  Lennox,  Duchess  of — Port, 
by  J.  Petitot,  191 

Riggs,  Mr. — Port.,  166 

Rijks  Museum,  Amsterdam — Coll.,  239 ; 
Cooper,  S.,  60  ;  Faber,  J.,  210  ;  Agerbier, 

£.  B.,  85  ;  Granges,  D.  des,  92  ;  Hoskins,  J., 
5>  55  J  Oliver,  P.,  45 

Rivington,  Mr.  Charles — Port.,  166 

Robertson,  Alexander — Min.  Painter,  184 

Robertson,Andrew — Characteristics  of  Mins., 
183  ;  Life,  182,  184  ;  Life  and  Letters,  by 
Miss  Emily  Robertson,  182  ;  Ross,  Sir 
William,  184  ;  Scene  Painting,  183  ;  Sec. 
of  Soc.  of  Assoc.  Artists  in  Water  Colour, 
171  ;  West,  Benjamin,  183 

Robertson,  Archibald,  183,  184  \  ;^        ,.^ 

Robertson,  Capt. — Port.,  163 

Robertson,  Miss  Emily— Life  and  Letters  of 
Andrew  Robertson,  182 

Robertson,  Walter  and  Charles — Min. 
Painters,  179 

Robertson  and  Miller,  249,  250 

Robinson — Mins.  copied  by  W.  Wood,  163 

Roche,  Mr. — Port.,  146 

Romano,  Giulio — Cartoons,  no 

Rome — Collections,  241  ;  Queen  Christina's 
Correspondence,  78 

Rome,  King  of,  as  a  child,  180 

Romney,  George — Friendship  with  O.  Hum- 
phry, 149  ;  Newland,  A.,  port,  of,  162  ; 
Italian  Visit,  149 

Rooke,  Sir  George — Port.,  210 

Roos,  Lord — Cooper's  Port,  of  Lady  Exeter, 
63  ;  Port.,  52,  53 

Rosebery,  Earl  of — Coll.  at  Mentmore,  237 

Ross,  Sir  William — Characteristics  of  Mins., 
184,  185  ;  Ivory  used  by,  184  ;  Pupil  of 
A.  Robertson,  184 

Rossetti— Min.  in  Morgan  Collection,  241 

Rothschild  Collections,  193,  238 

Rouen — Capture  by  the  Guises,  38 

Roumania — Min.  Colls.,  241 

Roundell,  Mrs.— Ham  House  Mins.,  237 

Rouquet — Enameller,  194 

Rouvier — Mins.  by,  204 

Royal  Collections  of  H.M.  the  King— Beale, 
C.,  95  ;  Cooper,  S.,  69  ;  Cosway,  R.,  104  ; 


Elizabeth,    Queen,     Prayer    Book,     30 ; 

Granges,  D.  des,  92  ;  Holbein,  H.,  13,  14  ; 

Hoskins,  J.,  51,  54  ;    Oliver,  I.,  38,  39  ; 

Oliver,  P.,  43,  45  ;  Petitot,  J.  L.,  193 
Rudyard,  Sir  Benjamin — Port.,  50 
Rumbell  and  Bridge — Frame,  168 
Rushout,  Three  Ladies,  122 
Russel,  Antony — Story  of  Mrs.  P.  Oliver  and 

Charles  II.,  42 
Russel,    Theodore — Purchase    of    Paintings 

from  Mrs.  P.  Oliver,  42 
Russell,  John,   R.A. — Anatomy,  Study  of, 

131  ;  Crayon  picture  of  Miss  Knight,  163  ; 

George  IV.  when  Regent,  176 
Russell,  Lady  William— Eye  Ring  Mins.,  165 
Russian  Collections,  240 
Rutland,  Duchess  of — Grandson's  Port.,  162 
Rutland,  Duke  of,  Coll.,  see  Belvoir 
Rymer's  "  Foadera  " — N.  Hilliard,  28 
Sackville,  Lord — Mins.,  153 
Sadler — Mins.  attributed  to,  89  ;    Pupil  of 

Sir  Peter  Lely,  80 

S.  Albans,  Duke  of — Port,  of,  by  L.Crosse,  97 
S.  Martins-in-the-Fields — Register  of  death 

of  N.  Hilliard,  23 

Saint  Menin — Port.  Engr.  and  Painter,  261 
Salting  Bequest — Binninck,  S.,  232  ;   Bogle, 

233 ;     Cooper,    S.,    233 ;     Cosway,    233  ; 

Crosse,   233 ;    Dixon,   233 ;    Engleheart, 

233  ;  Flatman,  233  ;  Hilliard,  N.,  20,  21*, 

232  ;    Hilliard,  R.,  27  ;    Holbein,  H.,  12. 
232 ;    Hoskins  J.,   233 ;    Humphry,    O., 

233  ;  Jean,  233  ;  Nixon,  233  ;  Oliver,  I., 
41,  233  ;    Oliver,  P.,  233  ;    Plimer,  233  ; 
Smart,  J.,  134,  233  ;  Teerlinck,  Lavinia, 
18,  233 

Salisbury,  Earl  of— Letter  fr.  N.  Hilliard,  32 
Salisbury  Lectionarium — Port.,  8 
Sampson,  Mrs. — Port.,  162 
Sanderson,  William — Graphic,   Gibson,   R., 

port,  by,  87 ;   Granges,  D.  des,  92  :  Hos- 
kins, Father  and  Son,  47,  49 
Sandwich,  Earl  of — Port.,  233 
Santa  Barbara — Mins.,  242 
Sartoris,  Mrs. — Min.,  27 
Saxony,  King  of — Port.,  211 
Scott,  Dr.  John— Marriage  with  L.  Plimw, 

119 
Scott,   Henrietta,   Duchess   of   Portland — 

Port.,  106 

Scott,  Lord  Henry — Port.,  210 
Scouler — Montague,   Lady  Mary   Wortley, 

177  ;  Small  Mins.  by,  177 
Segar,  Francis  and  William — Mins.  by,  17  ; 

Queen  Elizabeth  Port.,  attrib.,  18,  35 
Sergent — Queen  Marie  Antoinette,  200 
Severn— Min.  of  Keats,  186 
Seymour,  Lady  Frances — Daughter,  161 
Seymour,  Lady  Jane — Port.,  12 
Shaftesbury,  Earl  of— Port.,  71,  74 
"  Shaick  Emaun  Bux  " — Port.,  166 
Shaw,  Dr. — Denisations  and  Naturalisations, 

381 

Shaw's  Calendar  of  Treasury  Books,  65 
Sharpies,  Felix — Mins.  by,  262 
Sharpies,    James — Life    and    Work,    261  ; 

Washington,  George,  portrait,  261 
Sharpies,  James  (jun.) — Mins.,  262 


INDEX 


Sharpies,  Rolinda — Mins.  by,  262 

Shelley,  Samuel— Characteristics,  177  ;  Life, 
175  ;  Robertson,  Alexander,  184  ;  Sale  of 
Min.  by,  175  ;  Thomond,  Marchioness,  175 

Sherborne  MS. — Ports.,  8 

Sheridan — Port.,  129 

Sheridan,  Mrs. — Beauty,  148 

Sheriff,  Mr.— Port.,  165 

Sheriff,  Charles — Pupil  A.  Robertson,  184 

Shipley's  Drawing  School — Cosway,  R.,  108  ; 
Humphry,  O.,  148 

Shorter,  Catherine — Port.,  198 

Shute,  John — Architecture,  Treatise  on,  35  ; 
Death,  36  ;  Edward  VI.,  36  ;  Mins.  by,  17, 
19  ;  Portugal,  Dona  Maria  Infanta  of,  36 

Sidney,  Sir  Philip— Port.,  45 

Siferwas,  John — Illuminator  of  Sherborne 
MS.,  8  ;  Salisbury  Lectionarium,  8 

Signac — Collections  of  Mins.  by,  201 

Simpson,  Christopher — Port.,  98 

Simpson,  John — Daughter's  Port.,  122 

Simpson,  Miss  Sophia — Port.,  169 

Sinaia— Miniature  Collections,  241 

Sinebrychoff,  Mons.— Collection,  239 

Singleton,  William — Nephew's  Port.,  180 

Skeffington,  Sir  William — Port.,  165 

Small,  Col.— Port.,  165 

Smart,  John — Academy,  Royal,  exhibits, 
136,  143  ;  Anatomy,  "Knowledge  of,  132  ; 
Artistic  Training,  133  ;  Boydell,  Miss,  137  ; 
Characteristics  of  Mins.,  104,  131,  143-6  5 
Cockburn,  Thomas,  138  ;  Cornwallis, 
Lord,  138  ;  Cosway,  Maria,  134  ;  Daugh- 
ter, 143  ;  Draughtsmanship,  131  ;  Feather- 
Stonhaugh,  Mr.,  140  ;  Frames  for  Mins. 
made  by  Toussaint,  142  ;  Garnett,  Nelly, 
140  ;  Indian  Visit  and  Work,  136,  137, 
138,  141,  142  ;  Life,  132,  133,  135,  136, 
141,  142  ;  Missing  Mins.,  List  of,  146  ; 
Nollekens,  Sculptor,  143  ;  Oakeley,  Lady, 
140  ;  Oil  Painting,  138  ;  Pencil  Drawings, 
139  ;  Ports,  of,  146  ;  Reynolds,  Col.,  143  ; 
Salting  Bequest  Mins.,  233  ;  Society  of 


Arts  Prize,  133  ;  Son,  Ports.,  I34,_i4i,  143'; 
Thomas,  146;   Watts,  Mr.,  163;    White, 


Tyssen,  Sar 


Walpole,  The  Hon. 


Mr.  and  Mrs.,  138 

Smart,  John  (jun.) — Booty,  Mr.,  141  ;  Death 
in  India,  139  ;  Large  Mins.,  141  ;  Life,  139  ; 
Man,  name  unknown,  180 ;  Ponsonby, 
Gerald,  141 ;  Ports,  of  by  Father,  134, 141, 
143  ;  Sketches  for  Ports.,  141  ;  Topping, 
Michael,  141  ;  Turning,  Mrs.,  141 

Smart,  Samuel  Paul,  139 

Smirke,  Mary — Pencil  drawings,  139 

Smith.  Capt.  (Col.)— Port.,  161 

Smith,  J.  T.,  Life  of  Nollekins — Richard 
Cosway,  108,  101 

Smith,  Miss— Port.,  169 

Society  of  Arts,  Prizes  won  by — Cosway,  R,, 
107, 133  ;  Smart,  J.,  133 

Somerset,  6th  Duke  of — Port.,  207 

Somerset,  E.  Seymour,  Duke  of — Port,  20,  28 

Sophia,  Princess — Port.,  74 

Sotheby,  Mrs.,  Coll.  at  Ecton— Cooper,  S., 
68,  238  ;  Dixon,  N.,  82  ;  Greatness  of  the 
Coll.,  238  ;  Billiard,  N.,  30  ;  Holbein,  H., 
238 ;  Hoskins,  J.,  50,  54,  238  ;  Hoskins, 


J.  (jun.),  49,  si  ;  Lockey,  R.,  35  ;  Oliver, 

I.,  40,  238  ;  Oliver,  P.,  44,  45,  238 
Southampton,  Countess  of,  190 
Southampton,  R.  de  Ruvigny,  Countess  of — 

Port.,  56 

Spain — Miniature  Collections,  241 
Sparkes,  Mr. — Port.,  163 
Sparrgren — Mins.  by,  20,  201 
Spectator — Smart  "  Little  John,"  139 
Spencer,    Earl,    Al thorp    Park   Coll. — Col., 

237  ;   Dixon,  N.,  82  ;   Humphry,  O.,  153  ; 

Lens,  B.,  101  ;  Oliver,  I.,  39 
Spencer,  Gervase — Academy  exhibits,  196  ; 

Characteristics   of   Mins.,    196 ;     Morgan 

Collection,  241 
Spicer,  Henry — Enamel,  196 
Spiering,  Anne — Port.,  213 
Spragge,  Sir  Edward — Port.,  86,  97 
Stafford,  Lord— Port,  of,  16 
Stamford,  Earl  of — Min.,  96 
Staring,  Dr. — Gerbier,  B.,  85  ;    Vryberghe, 

Mrs.  Van,  88,  89 
State  Papers— HiJliard,  L.,  33  ;  Billiard,  N., 

25 1 

Stead,  Mr.— Port,  of,  by  J.  Smart,  146 
Stirling,  Capt. — Port,  of,  by  W.  Wood,  169 
Stockholm  Historical  Museum  Coll.,  239 
Stopford,  Master  Thomas,  166 
Strawberry    Hill    Coll.— Hilliard,    R.,    27; 

Lens,  B.,  86,  MSS.,  99  ;    Oliver,  I.,  39  ; 

Oliver,  P.,  43  ;  Sale  of  Coll.,  237  ;  Zincke, 

Enamel,  189 

Street,  John — Port.,  170 
Streets,  Gwillim — Edward  VI.  port,   (att.), 

18  ;  Mins.  by,  17 
Strich,  Maria — Port.,  213 
Strickland,    Mr.,    Collection — Lens,    P.    P., 

101  ;  Lockey,  R.,  35 
Strong,  Mr. — S.  Cooper,  port.,  66 
Stuart,  Col.  James— Port.,  159,  166 
Stuart,  Maj.-Gen.  Sir  John,  161,  169,  171 
Stuart,    Gilbert— Boydell,   Alderman,    256 ; 

Fothergill,  Dr.,  256  ;  Henderson,  J.,  257  ; 

Knox,  J.,  257  ;    Life,  256  ;    Pupils,  255, 

261  ;  Reynolds,  Sir  J.,  256  ;  Washington, 

G.,  256,  257  ;  West,  B.,  work  in  studio,  256 
Stubble,  Mr.— Artist,  161 
Studio,  The — Catalogue  by  Mr.  Kennedy  of 

the  Buccleuch  Collection,  234,  235 
Sturt— Engravings  to  a  Book  of  Common 

Prayer,  99 

Suckling,  Rev.  R.  A.  J.,  Coll.,  134 
Suffolk,  Ch.  Brandon,  Duke  of — Port.,  13,  14 
Suffolk,  Duchess  of — Port.,  12 
Suffolk,  Hy.  Brandon,  Duke  of— Port.,  13 
Sully,  Robert  M. — English  Visit,  256  ;  Port. 

of  Northcote,  256 

Sully,  Thomas — Bridport,  H.,  260  ;  Instruc- 
tion received  from  G.  Stuart,  255  :    Life, 

255  ;  Miniatures,  255,  256 
Sulyard,  Edward— Heirs,  172 
Sumner,  James — Port.,  165 
Sussex,  Duke  of — Port.,  125 
Sutherland,  Duke  of,  70 
Swedish  Collection,  239 
Sydenham,  Dr. — B.  Beals,  study  with,  95 
Sydney,  Lady  Mary — Ports.,  18,  35 
Talbot,  Sir  Arundel— Port.,  41 


INDEX 


307 


Tart  Hall  Collection,  87 

Taylor,  Miss — Port.,  166 

Taylor,  Mr. — Engleheart's  Pigments  from 
China,  251 

Ter-Borch,  Gesina — Port.,  214 

Teerlinc,  Lavinia — Child,  18  ;  English 
Court  Painter,  na ;  Ports.  Girls,  n,  233 

Thienpondt — Enamels,  20,  204 

Thomas,  Josiah — Port.,  162 

Thoraond,  Marchioness — Port.,  175 

Thompson,  Mr. — Port.,  169 

Thopas,  Johannes — Plumbago  Dr.,  214 

Thorburn — Characteristics,  185  ;  Ivory  sur- 
faces, 185 

Thynne,  Thomas — Port.,  209 

Tintoretto — Mins.  attributed  to,  240 

Titian — Mins.  attributed  to,  240 

Tomkinson,  Mr. — Port.,  146 

Tonson,  Jarob — Port.,  101 

Topping,  Michael — Port.,  141 

Tours — Enamellers,  189 

Toussaint — Frames  des.,  142 

Toutin,  Henry— Enameller  and  Pastel 
Painter,  189 

Toutin,  Jean — Enamelled  case  for  Mins.,  50, 
54,  189  ;  Fellow-workers,  190 

Townsend,  Meridith,  Port.,  161 

Tracy,  Viscountess, — Port.,  208,  209 

Trott,  Benjamin — Mins.,  261 

Trumbull,  John — Aide-de-camp  to  Washing- 
ton, 258  ;  Imprisonment,  258  ;  Lawrence, 
Col.,  163  ;  Life,  258  ;  Mercer,*  Gen.,  258  ; 
Mins.  copied,  163 

Tudor,  Lady  Mary,  Countess  of  Derwent- 
water — Mother,  57 

Turner,  William— daughter  m.  S.  Cooper,  65 

Turner  Collection — Mins.,  150,  152,  153 

Turning,  Mrs. — Port.,  141 

Twisden,  Sir  Roger — Port.,  146 

Tysen,  Sarah — Port.,  134 

Upcott,  William— Collector  of  Books,  MSS 
and  Medals,  151;  Humphrey,  O.,  152, 
J53 

Usher,  Mr.  Ward — Collection,  237 

Vander  Doorts,  Catalogue — L.  Hilliard,  33 

Vandyck,5Copies  of  Pictures — Oliver,  P.,  43  ; 
Petitot,  J.,  190 

Vaslet,  Louis — Mins.,  181 

Vaux,  Mr.  John — Port.,  167 

Velde,  J.  Van  de — Plumbago  Drs.,  214 

Verbruggen,  J. — Plumbago  Drs.,  213 

Vernon,  Col.  G.  A.  and  Miss  Caroline  Vernon, 
106 

Vertue,  George — Cleyn,  Penelope,  88  ;  Cleyn 
Family,  83  ;  Cooper,  S.,  67  ;  Crosse,  L., 
96  ;  Dixon,  N.,  81,  88  ;  Hilliard,  Treatise 
on  Limning,  25,  26  ;  Hoskins,  Father  and 
Son,  47,  49,  51  ;  Oliver,  I.,  Oils,  39  ; 
Oliver,  Mrs.  Peter,  and  Charles  II.,  42  ; 
Pencil  Drawings,  206  ;  Plumbago  Draw- 
ings, 213  ;  Ross,  Mrs.,  88 

Vestier — Mins.  by,  204 

Victoria,  Queen — Ports,  by  Bone,  H.  (jun.), 
192  ;  Essex,  W.,  198,  199 

Victoria  and  Albert  Museum — Art  Library, 
230  ;  Beale,  Charles,  95  ;  Buccleuch  Coll., 
234  ;  Cooper,  S.,  66,  71  ;  Gibson,  Susan 
P.,  87j  Hoskins,  J.,  57  ;  Jones  Coll.,  233  ; 


Oliver,  I.,  41  ;  Oliver,  P.,  45 ;  Salting 
Bequest,  see  that  title 

Viapre,  M.  de — Port.,  146 

Vienna — Collections,  240 

Villiers — Mins.,  204 

Vosse,  Cornelius  de— Gold  Mines  in  Scot- 
land, 29,  31 

Vryberghe,  Mrs.  Van— Port.,  88 

Waddesdon — Collection  of  Miss  Alice  de 
Rothschild,  238 

Waldegrave,  Ladies — Port.,  151 

Wales,  Prince  of — Port.,  124 

Wales,  Princess  Dowager  of — Port.,  124 

Wall,  John— Goldsmith,  24 

Wallace  Collection,  Hertford  House — Du- 
mont,  202  ;  Foreign  Mins.,  234  ;  Fragp- 
nardMins.,  203  ;  Hall  Mins  200;  Holbein 
self-portrait,  12 

Wallop,  Frederick — Flatman's  portrait  of 
Edward  Gregory,  90 

Walpole,  Horace,  and  Walpole  Collection- 
Cooper,  S.,  60,  61,  66  ;  Crosse,  "  Lewis," 
96,  97 ;  Digby  Family  Portraits,  237 ; 
Elizabeth,  Queen,  Prayer  Book,  30  ;  Gib- 
son, R.,  self-portrait,  87  ;  Hilliard,  R.,  27  ; 
Holbein,  H.,  12  ;  Hoskins,  J.,  57  ;  Lens, 
B.,  101  ;  Mother,  Portrait  of,  by  Zincke, 
198  ;  Oliver,  I.,  39,  40  ;*Petitot  Enamel, 
190 ;  Pupil  for  drawing  of  B.  Lens,  99  ; 
Shute,  J.,  35  ;  Smart,  J.,  140  ;  Sotheby 
Collection,  238  ;  Zincke  enamels,  195 

Walpole,  Sir  Robert,  Earl  of  Oxford — 
Enamel  Port,  of  wife  with  himself,  by 
Zincke,  198 

Walpole,  The  Hon.  Thomas — Port.,  146 

Walpole  Society— Hilliard,  N.,  Article  on,  24 
25,  27  ;  Welbeck  Abbey  Coll.  Cataloguers 

Walters,  John — Mins.,  261 

Wandelaar,  Jan— Plumbago  Dr.,  214 

Ward,  Mr.— Port.,  146 

Ward  Usher  Coll.— Min.,  172 

Warrack,  John — Rhind  Lectures,  29 

Washington,  George — Aide-de-camp  J. 
Trumbull,  258  ;  Peale,  C.  Wilson,  port., 
260  ;  Stuart,  G.,  ports.,  256,  257 

Washington,  Mrs.,  Portraits — Peale,  C.  Wil- 
son, 260  ;  Trumbull,  J.,  258 

Water-colours,  Soc.  of  Assoc.  Artists  in — 
Chalon,  member,  185  ;  Collapse  of  Society, 
170,  171 ;  Exhibitions,  170, 171  ;  Founded 
by  W.  Wood,  170 

Water-colours,  Soc.  of  Painters  in,  175 

Watney,  Vernon — Port,  of  Lady  J.  Sey- 
mour, 12 

Watts,  Mr. — Port.,  163 

Watts,  Mr.  James — Port.,  166 

Watts,  Miss  (Mrs.  Adam  Gordon),  166,  167 

Way,  Master  Lewis — Port.,  168 

Way,  Mr.— Port.,  163 

Welbeck  Abbey  Collection,  Catalogue — 
Cooper,  S.,  66  ;  Dixon,  N.,  81  ;  Forster,  T., 
210  ;  Gibson,  R.,  89  :  Granges,  D.  des,  92  ; 
Hilliard,  N.,  20,  24,  28 ;  Holies,  J.,  Ac- 
count Book,  52  ;  Hoskins,  J.,  51  ;  Hum- 
phry, O.,  153  ;  Lens,  B.,  100,  101 ;  Oliver, 
I.,  39  ;  Oliver,  P.,  43,  45 

Wellesley  Collection — Bogle,  J.,  180  ;  Cos- 
way,  R.,  114, 180  ;  Faber,  J.,  and  son,  210, 


308 


INDEX 


2ii  ;  Faithorne,  W.,  211  ;  Forster,  T., 
210  ;  Gerbier,  B.,  85  ;  Gibson,  R.(  self- 
portrait,  87  ;  Humphry,  O.,  153,  180  ; 
Lens,  P.  P.,  101  ;  Loggan,  D.,  207  ; 
Nanteuil,  R.,  214 ;  Paton,  D.,  213 ; 
Singleton,  W.,  180 ;  Stuart,  G.,  257 ; 
Trumbull,  J.,  258  ;  White,  R.,  209 

Wellington,  Duke  of — Enam.  Port,  of,  199 

Wentworth,  Lady — Port.,  141 

West,  Benjamin— Malbone's  visit  to,  254  ; 
Peale  Family,  259,  260  ;  Portrait  of,  by  A. 
Robertson,  183 ;  Pupil,  A.  Robertson, 
184  ;  Stuart,  G.,  256  ;  Trumbull,  J.,  258 

Whas  John— Scribe  of  the  Sherborne  MS.,  8 

Whitcombe  Green  Coll. — A.  Cooper,  78 

White,  George — Drawings  by,  211,  213 

White,  Robert— Addison,  Joseph,  209 ; 
Bunyan,  John,  209  ;  Catherine  of  Bra- 
ganza,  Queen,  209  ;  Characteristics,  209  ; 
Charles  II.,  209  ;  Collections  of  Works  by, 
209  ;  Dobson,  William,  209  ;  Drawings, 
206,  215  ;  Henrietta  Anne  (daughter  of 
Charles  I.),  209  ;  James  II.,  209  ;  Mon- 
mouth,  Duke  of  ,209  ;  Plumbago  Mins.  by, 
205,  206  ;  Pupil  of  D.  Loggan,  209  ;  Self- 
portrait,  209  ;  Thynne,  Thomas,  209 

White,  Mr.  and  Mrs. — Port.,  138 

Whitefoorde,  Caleb— Litho.,  171 

Whitehead,  Jeffery,  103 

Whitehead,  Mr.— Queen  Elizabeth's  Prayer 
Book,  30 

Whitting,  Mrs.— Port.,  225 

Wienix,  Jan — Plumbago  Drs.,  214 

William    III.,    Portraits — Faber,    J.,    211 
Forster,  T.,  210 

William  IV.— Enameller  Henry  Bone,  197  ; 
Miniature  painter  Sir  W.  Newton,  185 

Williams,  Alyn — Treatise  on  Modern  Minia- 
ture Painting,  257 

Williams,  Miss — Port.,  169 

Williamson,  Dr.  G.  C. — Collection,  Bancks, 
Charles,  214,  Blootelling,  Abraham,  214, 
Cooper,  Samuel,  67,  69,  Faber,  John 
and  Son,  210,  211,  212,  Forster,  Charles, 
2ir,  Forster,  Thomas,  208,  209,  Hum- 
phry, Ozias,  150,  Lens,  Andrew  B.,  101, 
Loggan,  David,  207,  Russell,  John, 
176,  Smart,  John  (Jun-)»  l8°,  White, 
George,  211,  White,  Robert,  209  ;  Ham 
House  Collection  of  Miniatures,  Cata- 
logue by  Mrs.  Roundell,  2361 ;  Morgan  Col- 
lection Catalogue,  see  Morgan  ;  Plimer, 
Andrew  and  Nathaniel,  n6l;  Usher  Col- 
lection, The,  preface,  237* 

Windsor  Castle  Collection— Bone,  H.,  Ena- 

t  mels,  197  ;  Humphry,  O.,  153  ;  Import- 
ance of  Collection,  235  ;  Loggan,  D.,  207  ; 
Oliver,  I.,  41 ;  Oliver,  P.,  43,  45  ;  Prieur, 


P.,  193  ;    Ross,  Sir  W.,  184  ;   Wood,  W., 

172  ;  see  also  Royal  Collections 
Wingfield,  C.  S.— Port.,  141 
Wingfield-Digby  Collection — Oliver,  I.,  39  ; 

Oliver,  P.,  43 

Wishart,  Sir  James — Port.,  210 
Woburn,  Collection  of  the  Duke  of  Bedford, 

197,  236 
Wolcot,  Dr.  (Peter  Pindar).— Port,  of,  by  W. 

S.  Lethbridge,  179  ;  Satire  on  R.  Cosway, 

Wolff,  Miss  C.— Port.,  146 

Wood,  Mr.  (sen.)— Port.,  165 

Wood,  Miss— Port.,  165,  166 

Wood,  William— Academy  Exhibits,  164- 
170 ;  Barnard,  Miss  (also  when  Mrs. 
Hicks),  162  ;  Bourchier,  Mr.,  161  ;  Browne, 
Mrs.,  162  ;  Butler,  Capt,  162  ;  Copies  of 
Miniatures,  163  ;  Dashwood,  Misses,  162  ; 
Essay  on  Sepulchral  Monuments,  170, 171, 
172  ;  Eye  Miniatures,  165,  166 ;  Fancy 
head  "  Cynthia,"  166  ;  Fancy  Miniatures, 
170 ;  Fitzgerald,  Lord  Edward,  162 
Gardens  and  Parks,  171 ;  Glennies,  Mr., 

161  ;    Hodgitts,  Mr.,  158  ;    Holmes,  Mr., 

162  ;  Hyde,  Mrs.,  161  ;  Jerningham,  Mrs, 
George,  172,  173  ;  Johnson,  Ben,  copy  of 
old    picture,     158 ;     Kelly,    Mr.,     161  ; 
Lamb  ton,   Miss   Fanny,    159  ;    Lamb  ton 
children,    two,    159 ;     Landscapes,    171 ; 
Lemon,  Sir  William,  161  ;  Life,  163,  171  ; 
Lithograph,  171  ;  MSS.  and  Ledgers,  156, 
157,  159,  160,  161,  162,  163,  172;    New- 
land,  Abraham,   161  ;    Nightingale,  Col., 
161 ;     Norman,    Master,    162 ;     Pepys, 
Charles,  160  ;  Pigments  used  by,  157,  159, 
160  ;   Reynolds,  Sir  Joshua,  158  ;   Samp- 
son, Mrs.,  162  ;  Self-portrait,  165  ;  Sister's 
portrait,   158  ;    Smith,  Capt.  Col.,   161  ; 
Stuart,   Col.   James,    159,    166 ;    Stuart, 
Maj.-Gen.  Sir  John,  161, 169, 171;  Thomas. 
Josiah,   162  ;    Townsend,  Meridith,   161  ; 
Water-colour  Work,   171,   172 ;    Woulfe, 
Sir  Jacob,  158 

Woulfe,  Sir  Jacob — Port.,  158 

Worlidge,  Thomas— Plumbago  Drs.,  213 

Wrench,  Mary — Mins.  by,  261 

Wright,  Dr.  James — Port.,  165 

Wroxton  Abbey,  Collection  of  Lord  North — 
Dixon,  N.,  83  ;  Granges,  D.  des,  92 

Wurtemburg,  Duchess  of— Port.,  125 

Wyatt,  Mrs.  Benjamin — Port.,  169 

Young,  Admiral — Port.,  141 

Zincke— Enam.  Min.  Ports.,  195  ;  Pupil  of 
Boit,  194,  195  ;  Pupils,  J.  Meyer  and 
Prewitt,  178,  195  ;  Shorter,  Catherine, 
198  ;  Walpole,  Sir  Robert,  198 

Zoffany — Painting  of  Academicians,  109 


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